GIFT  OF 
MICHAEL  REESE 


»  '?^H^ 


GRAMMAR  OF  ELOCUTION; 

CONTAINING 

THE  PRINCIPLES 

or  THE 
ARTS  OF  READING  AND   SPEAKING: 

ILLUSTRATED    BY    APPROPRIATE 

EXERCISES  AND  EXAMPLES, 

ADAPTED  TO  COLLEGES,  SCHOOLS,  AND  PRIVATE  INSTRUCTION: 

THE  WHOLE    ARRANGED    IN  THE  ORDER  IN  WHICH 

IT  IS  TAUGHT  IN    TALE    COLLEGE. 


BY  JONATHAN  BARBER, 

MEMBER  OP  THE  ROYAL  COLLEGE  OF  SURGEONS,  LONDON. 


'» 
PUBLISHED   BY  A.  H.  MALTBY. 

1830. 


'• u» *  * 


DISTRICT  OF  CONNECTICUT,  SS. 

*~-~~       BE  IT  REMEMBERED,  That  on  the  ninth  day  of 


December,  in  the  fifty-fourth  year  of  the  independence 
3  of  the  United  States  of  America,  JONATHAN  BARBER,  of 
the  said  District  hath  deposited  in  this  Office  the  title  of  a  Book, 
the  right  whereof  he  claims  as  Author  in  the  words  following  —  to 
wit  :  "A  Grammar  ef  Elocution,  containing  the  principles  of  the 
Arts  of  Speaking  and  Reading,  illustrated  by  appropriate  exercises 
and  examples,  adapted  to  colleges,  schools,  and  private  instruction. 
the  whole  arranged  in  the  order  in  which  it  is  taught  in  Yale  College. 
By  Jonathan  Barber." 

In  conformity  to  the  Act  of  Congress  of  the  United  States,  entitled 
"  an  act  for  the  encouragement  of  learning,  by  securing  the  copies 
of  Maps,  Charts,  and  Books,  to  the  Authors  and  Proprietors  of  such 
copies,  during  the  times  therein  mentioned,  and  also  to  the  act,  en- 
titled "  an  act  supplementary  to  an  act,  entitled  an  act  for  the  en- 
couragement of  learning  by  securing  the  copies  of  Maps,  charts. 
and  books,  to  the  Authors  and  Proprietors  of  such  copies  during 
the  times  therein  mentioned,  and  extending  the  benefits  thereof  to 
the  arts  of  designing,  engraving  and  etching  historical  and  other 
prints." 

CHARLES  A.  INGERSOLL, 

Clerk  of  the  District  of  Connecticut. 
A  true  copy  of  Record  examined  and  sealed  by  me, 
CHARLES  A.  INGERSOLL, 

Clerk  of  the  District  of  Connecticut. 


BALDWIN    AND    TREADWAY,    PRINTERS. 


TO  JAMES  RUSH,  M.  D. 

PHILADELPHIA. 


DEAR    SIR 


THE  treatise  which  you  published  in  1 827,  entitled  the 
"  Philosophy  of  the  Human  Voice,"  was  the  first  work 
that  ever  presented  a  true  and  comprehensive  record 
of  the  vocal  functions.  Physiology  is  a  science,  the 
details  of  which,  are  discoverable  only  by  observation 
and  experiment.  The  history  of  the  functions  of  the 
voice,  is  a  legitimate  department  of  that  science,  and 
you  have  investigated  it  in  the  only  true  method.  Your 
work  is  strictly  inductive  :  its  philosophical  principle  is 
therefore  correct.  It  combines,  at  the  same  time,  such 
fullness  of  detail,  with  such  an  orderly  classification  of 
the  vocal  functions,  as  to  entitle  your  views  of  the  sub- 
ject, on  the  ground  both  of  the  comprehensiveness  of  the 
particulars,  and  the  felicity  of  the  arrangement,  to  the 
denomination  of  A  SCIENCE.  Much  less  originality, 
depth,  and  accuracy  of  investigation,  devoted  to  some  art 
which  mankind  in  general  have  been  taught  to  consider 
profitable,  would  have  brought  you  a  more  immediate 
recompense  of  fame ;  not  however,  perhaps,  a  larger 
portion  of  ultimate  glory.  As  to  the  practical  tendency 


2  DEDICATION. 

of  your  treatise,  I  would  observe  that  it  satisfied  my 
curiosity,  as  to  the  elements  of  the  art  which  I  teach, 
and  enlarged  to  so  great  an  extent  my  resources  as  a 
teacher,  that  the  advantages  I  am  constantly  deriving 
from  it,  of  themselves  prompt  me  to  a  full  and  grateful 
acknowledgement  of  its  merits.  It  naturally  led  to  a 
friendly  intercourse  between  us :  for  what  is  more  pow- 
erful, when  good  moral  qualities  are  not  deficient,  to  at- 
tract and  bind  one  man  to  another,  than  fellowship  in 
elevating  intellectual  pursuits. 

The  method  of  investigation  adopted  in  your  work, 
shows  the  reason  why  the  ancients  did  not  reduce  elocu- 
tion to  a  science.  Recent  times  first  disclosed  the  true 
mode  of  investigating  nature  ;  and  your  treatise  will  be 
admitted  by  all  competent  judges,  to  be  a  triumphant  ex- 
hibition of  its  efficacy. 

This  "  Grammar  of  Elocution,"  is  fruit  gathered  from 
the  vine  which  you  planted ;  it  is  adapted  to  special  pur- 
poses, which  will  be  set  forth  in  the  preface,  but  is  by  no 
mejjis  intended  as  a  substitute  for  your  valuable  work. 

In  what  I  have  said  of  that  work,  I  have  only  dis- 
charged a  debt  of  public  justice,  and  told  what  I  believe 
to  be  the  truth  ;  I  confess  it  has  been  with  pleasure,  be- 
cause I  can  subscribe  myself 

Your  sincere  Friend  and  Servant, 

JONATHAN  BARBER. 

NEW-HAVEN,  Jan.  1830, 


PREFACE. 


THE  value  of  the  following  work  must  be  estimated,  I,  by 
the  importance  of  the  subject  of  which  it  treats,  and  II.  by 
the  manner  in  which  that  subject  is  treated. 

I.  As  respects  the  importance  of  delivery,  I  shall  offer 
an  argument,  which  I  consider  as  conclusive.  It  is  found- 
ed on  the  opinion  and  practice  of  the  Greek  and  Roman 
orators.  Their  evidence  to  the  importance  of  the  art  of 
Elocution,  and  to  the  care  with  which  it  was  cultivated 
among  them,  is  full  and  clear.  I  see  no  reason  to  believe, 
that  the  ancients  had  any  record  of  the  functions  of  the 
voice — any  science  of  Elocution,  in  the  sense  in  which  we 
possess  it  in  the  works  of  Steele  and  Rush,  or  in  which  1 
have  endeavored  to  display  it  in  this  Grammar.  The  discourse 
of  Quinctilian  on  the  voice,  may  be  considered  as  reveal- 
ing to  us  the  Ultima  Thule  of  their  researches.  But  they 
endeavored  to  compensate  by  practice,  for  their  deficiency  in 
principles.  The  Greeks,  especially,  entertained  very  high 
conceptions  of  the  end  and  objects  of  the  fine  arts  generally, 
and  of  the  art  of  speaking,  among  the  rest.  They  were  not 
satisfied,  unless  their  efforts  surprised,  moved,  delighted. 
They  considered  the  true  end  of  a  fine  art,  was,  to  commu- 
nicate a  high  degree  of  satisfaction  to  a  cultivated  taste; 
and  they  continued  to  labor,  till  they  attained  that  end. 
Hence  the  long  and  painful  preparatory  exercises  in  speak- 
ing, to  which  they  submitted,  in  the  presence  of  their  rhe- 
torical masters.  These,  however,  were,  as  regards  elocu- 
tion, rather  an  appeal  to  the  taste  of  those  masters,  than  to 
any  general  standard  of  science  ;  and  the  corrections  must 


4  PREFACE. 

have  been,  for  the  most  part,  the  result  of  individual  feeling 
and  judgment.  But  though  thus  destitute  of  what  Cicero 
calls  the  "  Fontes  philosdphiae  e  quibus  ilia  manant,"* 
their  sense  of  the  importance  of  delivery,  is  strongly  dis- 
closed in  their  history.  I  will  not  dwell  on  the  case  of 
Demosthenes,  with  his  half  shaven  head,  his  cave,  and 
his  practice  on  the  sea  shore,  though  they  are  an  em- 
phatic record  of  his  opinions  on  elocution,  and  of  his  sub- 
lime devotion  to  the  pursuit  of  his  art :  but  I  will  mention  a 
fact,  perhaps  not  so  generally  known.  It  is,  that  this  distin- 
guished orator  expended  a  sum,  amounting  to  several  thou- 
sand dollars,  in  the  payment  of  a  master  of  elocution.  Ci- 
cero, after  having  completed  his  education  in  other  respects, 
(and  what  an  education  !)  devoted  two  years  to  recitation, 
under  the  most  accomplished  tragedian  of  antiquity.  Caius 
Gracchus,  who  arrayed  one  half  of  Rome  against  the  other, 
was  so  solicitous  about  the  management  of  his  voice  in  ad- 
dressing public  assemblies,  that  a  slave  used  to  stand  behind 
him  with  a  small  pitch-pipe,  to  set  the  prelusive  note.  The 
science  of  music  was  habitually  cultivated  among  the  Greeks 
and  Romans,  as  subservient  to  the  art  of  elocution.  Statues 
were  sometimes  erected  to  distinguished  Rhetoricians.  In 
some  instances,  the  public  money  was  coined  in  their  name  : 
and  their  salaries  frequently  exceeded  those  of  a  Minister  of 
State  in  modern  Europe.  By  these  facts,  we  are  made  ac- 
quainted with  the  opinions  of  nations  who  carried  the  art  of 
speaking  to  perfection;  and  with  the  practices  of  the  youth- 
ful declaimers,  who  became  subsequently  conspicuous  on 
the  theatre  of  public  affairs. 

The  oratory  of  the  best  Greek  and  Roman  speakers,  was, 
withal,  eminently  practical.  They  did  not  employ  it  for  me- 


*  Fountains  of  Philosophy,  from  which  these  things  are  de- 
rived. 


PREFACE  5 

retricious  display,  or  empty  declamation,  but  as  an  instru- 
ment of  power  in  the  state.  Its  aim  and  its  effects  were  to 
convince,  to  impress,  and  impel  to  action.  They  were  lead- 
ers in  the  busiest,  most  enlightened,  and  tumultuous  periods. 
Their  voices  *'  shook  distant  thrones,  and  made  the  ex- 
tremities of  the  earth  to  tremble." 

Were  these  men  mistaken,  in  estimating  highly  the  advan- 
tages of  an  impressive  delivery  ?  OR  ARE  WE,  who  disregard 
them  ?  Were  they  deficient  in  matter,  in  power  of  argu- 
ment, in  the  learning  of  their  times,  in  the  compass  of  their 
subject,  in  the  arts  of  composition  ?  I  confine  the  argument, 
for  the  moment,  to  Demosthenes  and  Cicero,  who,  by  their 
precepts  and  practice,  are  conspicuous  advocates  of  the  ait 
of  delivery :  and  I  address  myself  to  a  certain  class  of 
society,  who  are  constantly  maintaining  that  scholarship  and 
well  exercised  reasoning  powers,  are  all  that  are  necessary 
to  the  public  speaker — to  the  minister  of  the  Gospel,  for  in- 
stance, whose  office  is  at  least  as  much  with  the  imagination 
and  the  heart,  as  with  the  intellect — I  address  myself  to 
them,  I  say,  and  ask  whether  the  great  orators  I  have  men- 
tioned, might  not  have  put  in  a  claim  to  exemption  from  the 
drudgery  of  elocution,  if  ever  it  could  be  safely  pleaded  ? 
Who  is  there  among  you,  Gentlemen,  whoever  you  are  who 
have  maintained  this  idle  plea,  that  will  venture  to  contra- 
dict these  great  men  ?  Had  they  not  a  deep  sense  of  the 
value  of  time,  and  of  the  relative  importance  of  their  studies  ? 
Look  at  their  sublime  devotion  to  their  pursuit.  Had  they 
formed  mistaken  notions  of  their  art  ?  Their  unrivalled  suc- 
cess in  it,  is  the  best  answer  to  the  question.  Is  it  possible 
that  they  could  throw  away  months  and  years  in  attaining  an 
impressive  delivery,  unless  assured  of  its  immense  impor- 
tance, EVEN  TO  THEM? 

Oratorical  pre-eminence  can  be  the  aim  of  few  only,  but 
a  correct  and  impresive  elocution  is  desirable  by  all :  by  all, 


0  PREFACE. 

at  least,  among  the  educated  classes  of  society.  It  is  par- 
ticularly so  in  this  country.  Here,  a  learned  education  is 
sought,  specially  with  a  view  to  some  profession,  in  which 
public  speaking  must  be  exercised.  Great  numbers  of  young 
men  are  daily  entering  our  colleges,  who  are  to  become  min- 
isters of  the  gospel,  or  lawyers.  In  this  country,  too,  no 
freeman  is  excluded  from  the  state  and  national  councils  ; 
on  the  contrary,  talent,  when  combined  with  an  emulous 
spirit,  is  naturally  invited  to  participate  in  their  administra- 
tion :  to  say  nothing  of  the  frequency  of  public  meetings  for 
municipal  or  beneficent  purposes.  Under  these  circum- 
stances, there  are  but  few  among  the  well  informed  part  of 
the  community,  to  whom  it  may  not  be  of  importance  to 
speak  with  correctness,  ease  and  impressiveness;  or  who,  if 
not  able  to  do  so,  must  not,  sometimes,  painfully  feel  the 
disadvantages  arising  from  the  deficiency.  Hereafter,  young 
gentlemen  of  America,  some  of  you  will  deeply  regret  your 
neglect  of  the  art  of  delivery  :  when  you  are  obliged  to  do 
that  indifferently,  which  you  might  have  learnt  to  do  well : 
when,  on  some  interesting  occasion,  (and  such  occasions 
will  come,)  you  find  you  cannot  fix  the  attention  of  your  au- 
dience— of  the  listening  fair — when  some  competitor,  more 
happy  than  yourselves,  casts  you  into  shade,  and  leaves  you 
nothing  but  the  consciousness  of  a  mortifying  comparison  be- 
tween him  and  you— or  when,  seeing  opportunities  for  ob- 
taining distinction,  or  fixing  a  profitable  opinion  in  the  pub- 
lic mind  of  your  talents  and  acquirements,  you  are  obliged 
to  forego  them,  because  you  have  despised  or  neglected  the 
art  of  communicating  your  sentiments  in  an  impressive  and 
agreeable  manner. 

II.  It  remains  to  refer  to  the  following  Grammar.  It  is 
not  offered  to  the  public,  as  a  work  of  discovery.  Two 
such  works  have  appeared,  within  about  half  a  century.  The 
first  to  which  I  would  allude,  is  Steele's  Prosodia  Rationa- 


PREFACE.  7 

lis :  the  other  is  Dr.  Rush's  Philosophy  of  the  Human 
Voice.  Mr.  Steele  first  explained  the  measure  of  speech. 
I  have  availed  myself  of  his  treatise,  and  of  his  method  of 
scoring,  as  far  as  I  found  them  applicable  to  my  purpose. 
Mr.  Steele's  work  was  published  fifty  years  ago  ;  it  is  origi- 
nal, and  somewhat  abstruse :  but  of  greater  practical  im- 
portance, than,  perhaps,  he  himself  perceived.  About  twen- 
ty years  after  he  wrote,  Mr.  John  Thelwall,  a  distinguished 
teacher  of  elocution  in  London,  began  to  score  poetry  and 
prose  readings  with  his  pupils,  on  Mr.  Steele's  scheme,  with 
his  pen.  A  book  which  I  published  some  time  ago,  was,  as 
far  as  I  know,  the  first  printed  exhibition  of  its  application. 
Mr.  Steele  appears  to  have  been  wholly  unacquainted  with 
thephiysiological  considerations  which  account  for  the  mea- 
sure of  speech,  and  indeed  demonstrate  its  necessity. 

In  Dr.  Rush's  work,  the  reader  may  repair  to  a  fountain, 
at  once  deep  and  full.  A  leading  object  of  this  Grammar  is, 
to  render  its  principles  practically  useful  to  those  I  am  called 
upon  to  teach,  and  to  young  persons  in  general.  I  have 
availed  myself  of  his  mode  of  explanation  by  diagram, 
wherever  I  thought  it  would  be  useful. 

To  what  has  been  thus  obtained,  and  is  here  acknowledg- 
ed, I  have  added  whatever  my  own  observation  and  industry 
have  enabled  me  to  collect.  Above  all,  I  have  endeavored 
to  adapt  the  whole  to  the  purposes  of  teaching.  I  have 
treated  the  subject  of  Articulation  in  a  manner  which  I  pre- 
sume will  be  deemed  novel ;  and  I  consider  the  elementary 
tables,  particularly  the  table  of  consonant  elements,  as  an  in- 
dispensable portion  of  the  work.  I  would  farther  observe, 
that  its  object  is  practical,  not  exclusively  philosophical ;  but 
I  shall  be  greatly  disappointed,  if  it  is  not  found  to  answer 
the  end  I  have  in  view — that  of  teaching  the  art  of  Elocu- 
tion in  the  most  effective  manner,  by  recurring  to  those  ele- 
ments of  the  voice,  which  it  is  the  business  of  philosophy  to 


8  PREFACE. 

discover,  and  of  the  philosophical  teacher  to  apply.  Some 
subjects  treated  by  Dr.  Rush,  with  great  ability,  I  have  left 
untouched.  I  consider  his  Section  on  Syllabication,  one  of 
the  most  luminous  displays  of  philosophical  originality  and 
acuteness,  to  be  found  in  his  work  ;  but  it  did  not  appear  in- 
dispensably necessary  to  the  special  object  I  had  in  view..  I 
take,  however,  this  opportunity  of  assuring  every  public 
speaker,  and  every  philosophical  actor,  who  may  read  this 
preface,  that  he  will  fail  in  his  duty  to  himself  and  his  profes- 
sion, if  he  neglects  a  diligent  perusal  of  Dr.  Rush's  "  Phi- 
losophy of  the  Voice." 

I  would  remark,  in  conclusion,  that  if  this  Grammar  con- 
tains a  correct  and  comprehensive  practical  detail  of  the  ele- 
ments of  speech,  Elocution,  unless  it  is  to  be  abandoned  al- 
together, must  be  taught  on  the  plan  here  enjoined.  The 
graceful  effects  of  speech  are  dependent  on  those  uses  of  the 
voice,  which  can  only  be  certainly  acquired  by  diligent  ele- 
mentary practice.  The  student's  certain  road  to  eminence 
is  by  this  path  alone.  *'  Sic  itur  ad  astra."  My  whole  ex- 
perience as  a  teacher,  confirms  me  in  this  opinion. 

JONATHAN  BARBER. 


CONTENTS. 


PAOE. 

DEDICATION,             .....      :  4  1 

Preface,              -\  3 

Articulation,.        .              '•  ',         .         .         .       ,>•„  13 

Table  of  the  Vowel.  Elements  of  the  English  language,  21 

Table  of  the  Consonant  Elements,      '  .         3NI    v  22 
Particular  Structure  of  the  Vowel  Elements,     .         .27 

Explosive  Power  of  the  Vowel  Elements,        .       •• -."**•'  28 

Of  the  prolongation  of  the  Vowel  Elements,         .  31 
Table  of  Consonants  and  Vowels,  the  consonants  being 

placed  first,           .         .     ...  »        .         ,         .  38 

Table  of  Vowels  and  Consonants,  vowels  placed  first,  40 

Table  of  Consonant  combinations,      ;*  '      .     K ,  43 

Sentences,           •.        ••         ,<tt^    .         .         .         .  47 

General  considerations  on  Quality  of  Voice,     .         .  54  — 

General  considerations  on  Force  of  Voice,             .  55 

General  considerations  on  Time,       •,         .         .  56 

General  considerations  on  Abruptness,            .  •       .  57 

General  considerations  on  Pitch,     .       • »         .         .  58 
Of  the  Elements  of  Sound  which  enter  into  the  slide  of 
the  voice,  when  it  is  so  managed  as  to  give  the 

greatest  possible  pleasure  to  the  ear,           ,         .  63 

Of  the  slides  of  Speech,     .       >  <      >  / :     .         .  66 

Rising  Slide,           „     ~~r-- 67 

Failing  Slide,       .         .     .^.^      ....  69 

Circumflex  Slides,     .     ^..^ ..,.,.     {<  *  ••.,     .         .  70 

Elementary  exercises  on  the  slides  of  the  voice,        .  72 

!** 


10  CONTENTS. 

Radical  Pitch,        .         .        .,>,-,••        •         •         •      75 

Particular  combination  of  melody,  arising  from  special 

difference  in  the  radical  pitch  of  Syllables,  76 

Simple  melody  of  Speech,     .         .       ^         .        a-        78 
Full  Cadence,  .    \W .    ' ''-  .        ..        .        f  94 

Transition  of  Voice,         .       , .        .«.        .         ./>-.     .     95 
Employment  of  Quantity,       .         .         .      '  ,..$'     .      100 
Of  Plaintiveness  in  speech,         .         .       ,>      -..  •         110 
Tremor  of  the  Voice,        .        .         .         .         .  113 

Force  of  voice  under  the  form  of  Radical  Stress,         117 
Force  of  voice  under  the  form  of  Vanishing  Stress,        1 18 
Force  of  voice  under  the  form  of  Compound  Stress,     120 
Force  of  voice  under  the  form  of  Median  Stress,     .       120 
Aspirated  movements  of  the  voice,  .         .         .122 

Guttural  Emphasis,      .         .         .  L     •  fe»       123 

Accent,     .       .-„         ...         .         .        .  .^     .         123 

Measure  of  Speech,         .         .     h.«         .         .  125 

Emphasis,     ........     144 

Examples  of  Emphasis  with  short  explanations  of  the 

principal  elements  employed,          .         .         .  156 

Analysis  of  written  language,  .         .         .  160 

Improvement  of  the  voice, 170 

Of  the  application  of  the  vocal  elements  in  expressing 

emotion, •..    ,.^         177 

Drift  of  Voice,         .         .         .         .        .  •      .  181 
Faults  of  Delivery,       .         .         .         .  ,,     .         .      186 
Prevalent  circumstances  in  elegant  speech,        ,  .         194 
Circumstances  to  be  borne  in  mind  in  criticising  a  pub- 
lic speaker, v.         .194 

Directions  to  the  Exercises,        .         .       >  197 


EXERCISES. 

Ode  on  the  death  of  Thompson — COLLINS,  .         198 

Catharina— COWPER,  <  j  '  •  ?> ;  OQ  i 


CONTENTS.  1 1 

Adam  and  Eve's  Hymn — MILTON,       ,        .     '    .  205 

Revelations,  chap.  v.         .         .         .         .         .    -  210 

Ninth  chapter  of  John,          .         .         .         .  :  v-.  212 

Chatham's    Speech    on   employing  Indians  to  fight 

against  the  Americans,           .         .     M.        */.'  216 

On  the  Being  of  a  God — YOUNG,          .     ......     <  .•  220 

The  Grave — MONTGOMERY,    .         .         .       v        .  224 

The  Poplar  Field — COWPER,       .         .                V  228 

The  Rose, — COWPER,       .         .     )  .         .         .  227 

Parable  of  the  Prodigal  Son,           ....  228 

The  139th  Psalm,       .         .         .         .         .         .  231 

Procrastination — YOUNG,       •  .*   '     .         . '  >     .  232 

Extract  from  the  Task — COWPER,     ''.         .'       .  233 

Milton's  Sonnet  to  Cyriac  Skinner,     .         .         ;    :  240 
Milton's  Sonnet  on  his  blindnes,     .         .         .        .241 

Apostrophe  to  Light,         .         .      '  «                  .  242 

Cowper  on  his  Mother's  Picture,  .       , .       ••*.        .  245 

On  Sincerity — TILLOTSON,         .        .         .      ,  •  254 

HyderAli,           .         .      •   .         .         .         .         .  256 

Fourth  chapter  of  St.  John,      •        .         .        *  259 

Satan  calling  the  fallen  angels,       .         .  ^     ,        .  263 

Marco  Bozzaris,      .         .         .         .         .         .  265 

Address  to  the  Rainbow,      .         .         .^               . .  268 

Othello^s  address  to  tlie  Senate,          .         *        .  270 

The  Ocean,  Child  Harold,    .         .'       ./      .   >     .  273 

Lord  Thurlow's  Speech,             .         .         .        .  277 

Burke  on  the  New-England  Colonists,   .         «  '  279 

Apostrophe  to  the  Queen  of  France — BURKE,     .  281 

Gray's  Elegy,      .        -. ,       .    .     .         .-         .         .  283 

Happiness  of  Temper — GOLDSMITH,           .         .  288 

Summer  Evening's  Meditations — BARBAULD,          .  293 

Plunket's  Speech,     .         ....       •         .        ..  300 

Execution  of  the  Earl  of  Argyle,  .       ...         .*       .  304 

Thoughts  in  a  place  of  worship,         .        .  *       .  308 


1 2  CONTENTS. 

Dog  and  Water  Lily,  i.fl!     .  '  . ;.      .         .       310 

The  Deluge,         *   ...       .  .         .         »    i       312 

Holienlinden,       .       '.         ,mf  .  .         .  .»*     <:>     315 

Address  of  Henry  V.  to  his  troops,  .  '    .     i:  .  U       316 

Lucy — WORDSWORTH,  .         .  Jfe*        ..       l>.       318 

Hall's  Sermon,         ..    \     .         .  *' ••   ' 'j        .  320 

Addison's  Hymn,          .         ^ /  ,-v.-  !  ,     -    .         .       324 

Burial  Service,         .     p..         .  t        v;      V-         326 

Antony's  Oration  over  Caesar's  Body,  .      -  .    -jfr  .       329 

Speech  of  Patrick  Henry,         .  ^  .         .         .  334 

The  Battle  of  Warsaw,         .         .  '  .  -yi     .     ;-  ..       339 

Speech  of  Cassius,  .         .  .       '.         .  3-11 


GRAMMAR  OF  ELOCUTION. 


RECITATION  FIRST. 
ARTICULATION. 


A  PERFECTLY  accurate  and  distinct  ARTICULA- 
TION, must  form  the  basis  of  a  good  delivery.  Speak- 
ing and  reading  cannot  be  impressive  if  the  utterance  is 
indistinct.  Students  of  Elocution  should  therefore  al- 
ways attend  to  articulation,  as  the  primary  object ;  and  in 
the  first  instance,  it  should  be  prosecuted  alone,  as  a  dis- 
tinct branch  of  the  art,  and  prosecuted  until  perfection  in  it 
is  attained. 

Indeed  the  secret  of  success  in  learning  the  art  of  de- 
livery, consists  in  attending  to  one  thing  at  once.  Fail- 
ures will  always  be  frequent,  as  they  ever  have  been, 
whilst  it  is  attempted  in  the  gross ;  by  the  usual  method  of 
going  at  once  to  reading  and  declamation,  and  endeavour- 
ing to  enforce  articulation,  emphasis,  inflection,  and  many 
other  things,  altogether. 

The  object  of  this  first  recitation  is  to  lay  down  the 
elements  of  a  distinct  ARTICULATION  :  to  present  this 
branch  of  the  art  to  the  view  of  the  learner  and  teacher 
by  itself;  and,  in  such  a  simple  form,  that  the  one  may 
have  a  scheme  of  teaching,  and  the  other  a  definite  mode 
of  acquiring,  this  preparatory  and  indispensable  requisite 
of  all  good  reading  and  speaking. 

A  slight  attention  to  public  speaking,  or  to  reading,  will 
show  that  a  good  articulation  is  very  uncommon.  The 
attentive  listener  has  to  complain,  that,  letters,  words,  and, 

2 


14  GRAMMAR   OF    ELOCUTION. 

sometimes,  considerable  portions  of  sentences,  are  pro- 
nounced with  so  little  force  and  precision,  that  the  mind 
is  constantly  confused  in  its  attempts  to  apprehend  the 
meaning.  • 

y  Gctfiyejrfifation  partakes  of  the  defect  in  question.     But 

i  faults  of  articulation  which  do  not  strike  the  ear  in  conver- 

"  sation',  'become,  not  only  apparent  in  public  speaking,  and 

reading  aloud,  but,  sometimes,  confound  the  sense  to  such 

a  degree,  that  it  is  difficult  to  collect  the  general  meaning, 

much  more  the  precise  ideas,  contained  in  what  is  read  or 

spoken. 

If  a  person  would  have  a  more  impressive  conviction 
of  the  truth  of  these  remarks  than  mere  assertion  can 
produce,  let  him  direct  his  attention  to  the  single  circum- 
stance of  the  articulation,  in  a  series  of  recitations  at  any 
school  examination — in  the  declamations  of  students  at  a 
college  commencement — in  public  readings  and  recitations, 
even  by  professed  readers  and  reciters — in  ordinary  dis- 
courses delivered  from  the  pulpit,  at  the  bar,  in  halls  of 
assembly,  at  public  meetings,  or  on  the  floor  of  Congress. 
Indeed,  a  faulty  articulation  is  so  extensively  and  gene- 
rally prevalent,  that  I  have  scarcely  ever  attended  an  ex- 
hibition of  public  speaking,  by  young  persons,  without 
hearing  the  language  literally  murdered.  The  defects 
carried  from  schools  and  colleges  are  but  very  partially  re- 
medied in  the  world. 

Now,  a  speaker  may  be  sure  that  an  audience  will  never 
give  him  their  attention  long,  if  his  articulation  is  such  as 
to  disappoint  the  ear  and  confuse  the  mind.  Thus  the 
very  purpose  for  which  he  rises  from  his  seat  is  frus- 
trated. 


ARTICULATION.  15 

Distinctness  of  articulation  is  not  only  necessary,  in  or- 
der to  be  heard  and  understood,  it  is  a  positive  beauty 
of  delivery.  The  elementary  sounds  of  speech,  when 
properly  uttered,  are  in  themselves  agreeable.  But  to 
render  them  so,  the  following  directions  of  a  modem  wri- 
ter must  be  observed.  "  In  just  articulation  the  words 
are  not  to  be  hurried  over,  nor  precipitated  syllable  over 
syllable  ;  nor,  as  it  were,  melted  together  into  a  mass  of 
confusion.  They  should  neither  be  abridged  nor  prolong- 
ed, nor  swallowed,  nor  forced  ;  they  should  not  be  trailed 
nor  drawled,  nor  let  to  slip  out  carelessly.  They  are  to  be 
delivered  out  fronj  the  lips  as  beautiful  coins,  newly  issued 
from  the  mint ;  deeply  and  accurately  impressed,  per- 
fectly finished,  neatly  struck  by  the  proper  organs,  distinct, 
in  due  succession  and  of  due  weight."*  A  good  ar- 
ticulation is  an  affair  altogether  mechanical.  It  requires 
nothing  more  than  attention  and  continued  elementary 
practice.  It  depends  upon  a  few  certain  definite  positions 
of  the  organs  of  speech ,  and  the  power  of  varying  those 
positions  with  rapidity,  precision  and  energy.  Now 
though  every  body  admits  this,  scarcely  any  one  attends  to 
it.  Experience  shows  that  in  order  to  ensure  a  good  ar- 
ticulation to  persons  in  general,  some  methods  must  be 
adopted  not  at  present  in  use.  What  should  those 
methods  be?  I  answer  the  only  sure  means  are  a 
SERIES  OF  PRACTICAL  ELEMENTARY  EXERCISES,  which 
shall  constitute  a  sort  of  gymnastics  of  the  voice. 
These  must  be  practiced — and  persevered  in.  If  the 
training,  the  methods  of  which  will  be  pointed  out 

^Austin's  Choronomja. 


16 


GRAMMAR    OF    ELOCUTION. 


in  this  recitation,  is  steadily  enforced,  our  experience  en- 
ables us  to  say,  it  will  be  successful  in  ensuring  to  young  per- 
sons a  distinct,  a  forcible,  and  an  impressive  articulation  : 
if  it  be  not  adopted  and  steadily  pursued,  as  a  preparatory 
exercise,  and  for  such  a  length  of  time  as  the  deficiencies 
of  individuals  may  require,  the  usual  defects  will  continue. 
Reading  books  on  elocution,  and  receiving  directions  in 
lectures,  have  been  already  tried  long  enough,  and  tried 
in  vain.  PRACTICE,  practice  upon  a  series  of  elementary 
tables  of  the  primitive  sounds  of  speech  and  of  their  varied 
combinations  is  the  only  remedy.  We  therefore  advise 
that  no  pupil  be  ever  permitted  to  proceed  to  reading  or 
declamation,  until  distinctness  of  utterance  is  ensured  by 
repeated  exercises  upon  the  sounds  contained  in  the  fol- 
lowing tables. 

Before  we  proceed  to  exhibit  them,  a  few  preparatory 
observations  are  necessary,  in  order  to  render  the  nature 
of  the  analysis,  upon  which  we  propose  to  found  our  in- 
struction, better  understood. 

A  good  articulation  consists  in  the  precise,  forcible  and 
sufficiently  prolonged  utterance  of  syllables,  according  to 
an  approved  standard  of  pronunciation.  Now  a  sylla- 
ble is  sometimes  a  single  indivisible  sound  :  but  sometimes 
it  consists  of  several  simple  distinguishable  sounds,  into 
which  it  can  be  divided  by  the  voice.  If  I  pronounce  the 
word  MAN,  it  appears  to  a  hearer  unaccustomed  to  a 
scientific  consideration  of  speech,  to  be  one  sound,  not 
capable  of  division.  It  is  evident  to  such  person  that 
an  effort  of  the  organs  of  utterance  has  been  made, 
and  that  such  effort  is  intentional,  that  it  is  in  its  nature^ 
like  that  which  I  make  with  my  arm,  when  I  intentionally 


ARTICULATION.  17 

put  it  forth  to  lay  hold  of  any  object  within  my  reach  :  that 
the  pronunciation  of  the  word  MAN  is  the  effect  of  volun- 
tary muscular  action:  that  the  inner  part  of  the  mouth, 
the  tongue,  and  the  lips  have  undergone  an  alteration  dur- 
ing the  pronunciation,  in  obedience  to  the  will.  But,  it  is 
hardly  to  be  supposed  he  would  proceed  farther  than  this  in 
his  inquiries.  The  word  MAN  comes  upon  his  ear  as  a  sin- 
gle impulse,  and  is  contemplated  as  a  single  and  indivisi- 
ble sound.  It  is  not  at  all  to  be  expected  that  the  person 
in  question,  should  perceive  that  there  are  in  this  single 
word  three  distinct  sounds.  But  the  real  order  of  things 
may  be  thus  explained.  In  pronouncing  the  word  MAN 
the  lips  are  first  intentionally  brought  together,  and  press- 
ed in  a  certain  way  against  each  other,  and  air  being, 
at  the  same  time,  forcibly  impelled  from  the  throat,  a 
sound  is  heard  which  somewhat  resembles  the  lowing  of 
an  ox.  This  sound  is  the  one  represented  by  the  letter 
M.  The  lips,  which  before  were  held  in  somewhat  for- 
cible contact,  are  now  separated,  the  mouth  is  opened 
and  its  cavity  is  put  into  a  particular  shape ;  and  air  being 
again  impelled  from  the  throat  during  this  position  of  the 
mouth  the  sound  of  A  is  heard,  as  that  letter  is  pro- 
nounced in  the  word  a-t.  Finally  this  last  sound  being 
completed,  the  tip  of  the  tongue  is  carried  upwards  from 
the  lower  part  of  the  mouth,  and  pressed  against  the  up- 
per gums,  and  roof  of  the  mouth,  and,  air  issuing  from  the 
throat  in  a  forcible  manner  during  this  state  of  the  parts, 
the  peculiar  sound  appropriate  to  the  letter  N,  is  heard. 
In  order  to  obtain  a  demonstration  of  the  particulars  of 
this  description,  let  the  word  MAN  be  pronounced  in  a 
drawling  manner,  and  let  the  process  of  articulation  be 

2* 


18  GRAMMAR    OF    ELOCUTION. 

carefully  attended  to  during  its  continuance.  Let  the  po- 
sition which  the  lips  first  adopt  be  maintained  for  some 
time,  while  the  murmur  by  which  the  sound  of  M  is  pro- 
duced, is  continued  from  the  throat ;  avoiding  at  the  same 
time  to  proceed  to  the  sound  of  the  A:  then  ceasing  to  sound 
the  M,  let  the  A  be  next  sounded  alone,  observing  the 
particular  shape  which  the  mouth  assumes  during  the 
sound,  as  well  as  the  character  of  the  sound  itself: 
after  this  stop  again,  and  whilst  the  tip  of  the 
tongue  is  pressed  against  the  roof  of  the  mouth  and  the 
upper  gums,  let  the  N  be,  slowly,  murmured  through  the 
organs.  After  the  three  sounds  of  the  word  have  thus 
been  separately  pronounced,  let  MAN  be  slowly  uttered, 
so  that  each  separate  sound  and  the  coalescence  of  them 
with  each  other,  may  be  distinctly  perceived  at  the  same 
time. 

Now,  for  the  purposes  of  science  we  call  the  three 
sounds,  heard  in  the  word  MAN,  elements;  because 
they  are  the  simplest  possible  sounds  into  which  the 
word  can  be  resolved.  An  element  is  the  simplest  known 
form  of  a  thing  :  for  instance,  water  appears  to  be  perfectly 
simple ;  but  it  can  be  divided  into  two  airs,  called  hydro- 
gen and  oxygen.  The  first  of  these  is  highly  inflamma- 
ble, and  if  set  fire  to,  burns  with  a  bright  bluish  flame  : 
the  other  will  consume  a  piece  of  burning  charcoal,  if 
plunged  into  it  with  extraordinary  rapidity,  and  with  greater 
heat  and  brightness  than  are  produced  when  the  char- 
coal is  burned  in  common  air.  We  therefore  say  that 
the  chemical  elements  of  water,  are  hydrogen  and  oxygen. 

A  vocal  element  is  a  simple  sound  of  the  voice,  or  a 
sound  not  capable  of  being  farther  divided.  The  vocal 


i, 


elements  of  a  language  consist  of  the  simplest  pos- 
sible sounds  into  which  its  syllables  can  be  divided,  or  re- 
solved. The  division  of  syllables  into  their  elementary 
parts  is  a  branch  of  vocal  analysis.  This  analysis  shows 
that  the  vocal  elements  of  the  English  language  are 
(including  the  short  vowels)  forty-six  in  number.  We  shall 
for  the  present  retain  their  common  division  into  vowels 
and  consonants,  and  shall  first  give  a  table  of  the  vowel 
elements. 

Before  proceeding  to  do  this  I  would  observe,  that  I 
am  persuaded  that  tables  of  elements,  if  diligently  used, 
will  be  found  effective  in  teaching  very  young  persons  a 
distinct  and  graceful  articulation.  This  must  be  at  once 
acTrnittecT  by  the  reader,  when  he  is  informed  that  the  for- 
ty-six elements  exposed  in  our  first  tables  do  in  different 
combinations,  make  up  all  the  syllables  of  our  language. 
Elements  make  syllables,  syllables  words,  and  words 
discourse.  If  each  element  which  ought  to  be  sounded  in 
a  word  is  distinctly  formed  by  the  organs  of  utterance, 
the  word  must  be  well  pronounced,  and  if  all  the  words 
are  thus  pronounced  in  a  discourse,  the  articulation  of 
such  a  discourse  must  be  faultless.  I  should  feel  asha- 
med of  urging  such  plain  matters  of  fact,  were  it  not  for 
our  extraordinary  ignorance  on  the  subject.  I  never  yet 
pronounced  the  vocal  elements  of  our  language,  in  my 
public  lectures,  without  exciting  the  mirthful  wonder  of 
the  audience.  Perpetually  using,  or,  often,  misusing 
these  elements,  persons  in  general  are  ignorant  of  their 
existence,  as  single  specific  sounds.  I  add  another  testi- 
mony to  the  importance  of  exercise  on  the  elementary 
sounds. 


20  GRAMMAR    OF    ELOCUTION. 

"  When  the  elements  are  pronounced  singly,  they  may 
receive  a  concentration  of  organic  effort,  which  gives 
them  a  clearness  of  sound,  and  a  definite  outline,  if 
I  may  so  speak  at  their  extremes,  that  makes  a  fine  pre- 
parative for  a  distinct  and  forcible  pronunciation  in  the 
compounds  of  speech." — Philosophy  of  the  Human  Voice, 
Sect.  47,  p.  461. 


VOWEL    ELEMENTS. 


21 


TABLE  OF  THE  VOWEL  ELEMENTS 

OF  THE 

ENGLISH  LANGUAGE. 


IT  is  to  be  particularly  noticed,  that,  in  using  this  table, 
the  attention  is  to  be  directed  to  the  Elementary  Sounds, 
actually  heard  in  the  words  which  are  placed  opposite  to 
the  letters  and  not  to  the  names  of  the  letters.  The  same 
letter  sometimes  stands  in  different  words  for  several 
sounds.  Attend  therefore  to  the  Sounds  of  the  Elements. 
which  are,  as  the  table  of  words  shows,  distinct.  They 
are  seveutejen  in  number.  The  Element  is  separated 
from  the  rest  of  the  word  by  the  horrizontal  line, — and  is 
always  distinguished  by  an  italic  letter  or  letters. 


1 

e 

as  heard  in  the  word 

e-rr 

2 

a 

a-11 

3 

0 

o-bjeet 

4 

a 

o-ge 

5 

e 

e-dge 

6 

a   long 

a-rm 

7 

a  short 

a-t 

8 

o  long 

o-ld 

9 

o   short 

oa-ts* 

10 

ou 

ou-r 

11 

ee 

ee-1 

12 

i 

t-t 

13 

00 

oo-ze 

14 

u 

p-M-11 

15 

oi 

b-oy 

16 

i-sle 

17 

ew 

b-eatt-ty 

As  the  word  is  frequently  pronouriced. 


22 


GRAMMAR    OF    ELOCUTION. 


TABLE   OF  THE  CONSONANT  SOUNDS 

OF    THE 

ENGLISH  LANGUAGE. 


IN  this  Table,  (when  the  language  admits  of  it,)  one 
word  is  employed  to  show  the  consonant  element  at  its 
beginning,  and  another  to  show  the  same  element  at  its 
termination.  The  Element  is  distinguished  from  the  other 
parts  of  the  word  in  the  same  manner  as  in  the  preceding 
Table  of  Vowels. 


1 

b 

as  heard  in 

6-ow 

or-b 

2 

d 

d-are 

ai-J 

3 

f 

/-ame 

i/ 

4 

g 

g-ave 

fa-g 

5 

h 

A-orse 

0 

7 

i* 

j-ew 
k-ite 

Geor-ge 
kic-A: 

8 

i 

J-ord 

a-K 

9 

m 

m-an 

ai-m 

10 

n 

n-o 

ow-n 

11 

P 

p-ii 

t\-p 

12  q 

^-ueer 

13r 

(trilled) 

r-ow 

ufr 

(final) 

wa-r 

15s 

5-ir 

hi-55 

16 

*-ake 

ha-^ 

17v 

IM)W 

gi-ve 

18jw 

W-OQ 

*  The  elements  K  T  P  are  mutes.  They  produce  such  a  degree 
of  occlusion  of  the  organs  that  no  sound  can  escape  until  they  are 
united  with  some  other  vowel  or  consonant.  It  will  be  useless  there-, 
fore  to  attempt  to  sound  them  alone. 


CONSONANT    SOUNDS. 


19 
20 

X 

X 

as  heard  in 
(aspirate) 

e-a;-ample 
ve-x 

21 

y 

y-e 

22 

z 

z-one 

ad-z 

23 

n§ 

so-ng 

24 

th 

th-ou 

brea-Me 

25 

til 

(aspirate) 

th-umb 

tru-th 

26 

zh 

a-z-ure 

27 

wh 

wk-at 

28 

sh 

sh-o\v 

pu-sh 

29 

ch 

ch-ur-ch 

bir-cA 

The  ear  can  clearly  perceive  the  difference  of  each 
vocal  element  in 'the  foregoing  tables  of  vowels  and  con- 
sonants from  each  other.  Each  is  pointed  out  in  the 
word  or  words  in  which  it  is  found  by  an  italic  letter  or 
letters.  Such  letter,  or  letters,  (where  more  than 
one  stand  for  a  vocal  element,)  if  pronounced  as 
usually  heard  in  such  word  or  words,  will  give  the  true 
elementary  sound  in  question.  Each  vocal  element,  vowel 
and  consonant,  is  to  be  exactly  sounded,  in  the  order  of 
succession  in  which  they  are  found  in  the  tables.  When 
no  teacher  is  at  hand  to  demonstrate  the  sounds  of  the 
elements  with  his  voice,  the  following  direction  will  lead 
the  attentive  student  to  a  perception  of  them. 

Let  each  word  by  which  the  elementary  sound  is  illus- 
trated in  the  tables,  be  pronounced  in  a  very  slow  drawl- 
ing manner.  During  its  pronunciation  let  special  notice 
be  taken  of  the  position  of  the  organs  of  speech,  and  of 
the  particular  sound  produced,  as  the  element  which  is 
the  immediate  subject  of  description,  issues  from  the 
mouth.  This  slow  drawling  pronunciation  is  to  be  repeat- 
ed over  and  over  again,  until  the  element  to  be  illustrated 


24  GRAMMAR    OF    ELOCUTION. 

is  clearly  distinguished  by  the  ear  from  the  rest  of  die 
word,  and  the  position  of  organs  by  which  it  is  formed 
can  be  adopted  at  pleasure.  It  is  then  to  be  pronounced 
alone.  In  this  manner  all  the  vocal  elements  are  to  be 
sounded,  and  to  be  sounded  with  such  a  degree  of  energy 
as  to  come  with  marked  distinctness,  force  and  fullness  on 
the  ear.  This  sounding  of  all  the  elements  contained  in 
the  foregoing  table,  is  to  constitute  the  first  exercise  of  the 
student  of  elocution ;  and  it  is  to  be  continued  until  he  has 
acquired  precision,  facility,  force  and  fullness  in  uttering 
them  all :  nor  should  he  be  permitted  to  proceed  farther 
until  this  task  is  accomplished. 

When  a  class  is  formed,  each  individual  should  sound 
each  element  in  his  turn,  from  the  table.  Afterwards  the 
whole  class  should  sound  them  together  in  concert ;  the 
teacher  requiring  the  utmost  degree  of  force  in  their  utte- 
rance on  the  part  of  each  student,  and  carefully  watching 
that  there  is  no  deviation  by  any  individual  from  the  ap- 
propriate sound. 

A  familiarity  with  die  elementary  sounds  will  show,  1, 
That  the  graphic  characters  called  letters,  represent  two 
things — the  sounds  by  which  they  are  themselves  named; 
and  also  the  real  elementary  sounds  which  enter  into  die 
vocal  utterance  of  syllables:  2,  That  the  elementary 
sounds  heard  in  pronouncing  syllables  ought  to  be  care- 
fully distinguished  from  the  sounds  which  constitute  the 
names  of  the  letters.  This  distinction  is  important,  be- 
cause the  sounds  of  the  names  of  the  letters  and  the  sounds 
of  the  elements,  (for  both  of  which  letters  stand  as  sym- 
bols,) are,  though  sometimes  alike,  often,  entirely  different. 
In  the  word  A-GE,  for  example,  the  sound  of  the  element 


VOWEL    SOUNDS.  25 

a  is  the  same  as  that  of  the  name  of  the  letter,  but  this 
is  not  the  case  in  the  word  A-LL.  In  the  latter  instance, 
a  different  element  is  expressed  by  the  letter  A :  a  diffe- 
rent one  is  again  heard  in  the  word  A-RM.  In  the  word 
which  none  of  the  sounds  of  the  names  of  the  letters  are 
heard. 

Every  language,  to  be  perfect  for  purposes  of  speech, 
ought  to  have  a  vocal  alphabet ;  so  that  every  elementary 
sound  should  have  its  own  appropriate  character  or  letter ; 
and  these  characters,  and  none  others,  should  be  employed 
in  spelling  :  no  letter  being  admitted  into  a  word  which  is 
not  actually  sounded. 

As  one  letter  is  now  often  employed  to  indicate  entirely 
different  sounds,  and  several  letters  sometimes  stand  for  a 
single  sound,  we  must  be  careful  not  to  suffer  ourselves  to 
be  confused  by  the  ivritten  letter  or  letters  in  the  words 
employed  for  the  illustration  of  the  separate  elements. 
The  sound  actually  heard  is  the  thing  to  which  we  are  to 
attend — the  same  sound  is  the  same  element  though 
represented  (as  it  often  is)  by  different  letters.  For  ex- 
ample, though  we  represent  the  vowel  sound  heard  in 
Jew  and  in  the  French  word  Dieu,  by  ew  in  the  former,  and 
ieu  in  the  latter,  we  shall  hear  the  same  sound,  or  near- 
ly the  same,  in  the  word  Beauty,  represented  by  the  let- 
ters eau.  Again,  if  we  give  a  shorter  and  quicker  pro- 
nunciation to  the  element  a  than  it  has  as  heard  in  a-ge, 
it  will  be  perceived  by  the  ear  to  be  the  sound  which  we 
hear  in  e-dge ;  and  so  in  other  cases.  We  make  these 
remarks,  to  render  the  subject  easy  to  persons  to  whom 
such  inquiries  are  new.  To  many,  we  are  aware,  the 
considerations  here  presented  are  perfectly  familiar. 

3 


26  GRAMMAR    OF    ELOCUTION. 


QUESTIONS  TO  BE  PUT    TO    STUDENTS  AT  THE  END  OF 
RECITATION    FIRST. 

Is  a  syllable  always  a  simple  sound  ? 

Can  you  give  an  example  of  a  syllable  which  is  a 
simple  sound  ? 

Can  you  mention  a  syllable  consisting  of  three  sepa- 
rate simple  sounds  ? 

Can  you  utter  each  of  these  three  sounds  separately  ? 

What  is  meant  by  the  term  element  ? 

What  are  the  simple  sounds  of  speech  called  ? 

How  many  vocal  elements  are  there  in  the  English 
language,  including  the  short  vowels  ? 

Pronounce  each  of  the  vowel  sounds  with  exactness, 
mentioning  as  you  pronounce  each  a  word  beginning  with 
that  vowel. 

Pronounce  with  exactness  the  consonant,  sounds,  men- 
tioning a  word  commencing  and  ending  with  each,  where 
the  language  admits  of  it;  in  other  instances  let  the  word 
commence  or  end  with  the  element  in  question,  according 
to  the  necessity  of  the  case. 

Pronounce  the  mutes  by  placing  a  vowel  sound  before 
and  after  each,  so  as  to  show  their  elementary  sounds. 


VOWEL    SOUNDS.  27 

UECITATIOX  SECOND, 

PARTICULAR  STRUCTURE  OF  THE  VOWEL 
SOUNDS. 

The  following  Vowel  Sounds,  are  found,  on  prolonging 
their  pronunciation  to  be  clear  dipthongs.  They  are, 
nevertheless  to  be  considered  as  vocal  elements  be- 
cause, though  two  sounds  are  heard  in  their  utterance, 
these  sounds  cannot  be  disjoined  by  the  voice,  in  pro- 
nouncing them.  The  unavoidable  action  of  the  organs 
of  speech,  is  such  as  to  present  the  two  sounds  in  coa- 
lescence. A  as  in  a-we,  opens  with  the  well  known  ele- 
mentary sound,  but  it  ends  with  a  feeble  and  obscure 
sound  of  e,  as  heard  in  the  word  e-rr. 

The  same  is  true  of  a,  as  heard  in  the  interjection  ah. 
A  in  a-le  changes  in  the  progress  of  pronunciation  to  ee,  as 
heard  in  ee-1,  making  the  sound  aeele,  the  ee  being  some- 
what feebler  and  more  obscure  than  if  it  began  a  word. 

The  same  is  true  of  t,  as  heard  in  i-ee/e,  spelt  i-sle. 

O  in  o-ld,  goes  into  the  feeble  sound  of  00,  as  heard  in 
oo-ze,  as  O  oold. 

The  same  is  true  of  OM,  as  ouoor. 

The  other  vowel  elements  are  monothongs  as  distin- 
guished from  dipthongs.  This  minute  attention  to  the 
structure  of  these  elements  is  necessary  in  prolonging 
them.  In  doing  this  we  shall  by  anticipation  of  the  sounds 
into  which  they  run,  be  able  so  to  manage  the  voice  in 
extending  them,  as  to  prolong  them  to  any  desirable  ex- 
tent with  a  preservation  of  their  true  pronunciation.  With- 
out it,  we  shall  be  in  danger  of  either  drawling  them  or 
abridging  the  time  of  their  pronunciation. 


28  GRAMMAR    OF    ELOCUTION. 

EXPLOSIVE   POWER  OF  THE  VOWEL 
SOUNDS. 

We  are  about  to  describe  a  very  important  elementary 
function  of  the  voice,  which  can  be  manifested  in  the  ut- 
terance of  the  vowel  sounds.  All  the  vowel  sounds  can 
be  exploded  from  the  throat  with  great  suddenness  and 
force.  The  explosion  appears  to  depend  on  a  previous 
occlusion  in  the  throat,  the  sound  breaking  forth  from  be- 
hind the  occluded  part.  It  will  be  effected  by  attention 
to  the  following  directions.  The  explosion  is  to  consist 
of  a  short  and  single  act  of  coughing,  forcibly  made  up- 
on each  element.  A  short  cough  is  generally  made  up- 
on the  element  e  as  heard  in  the  word  e-rr.  Let  the  stu- 
dent cough  out  this  element  with  as  much  force  as  possi- 
ble, and  then  let  him  substitute  for  it  each  of  the  other 
elements  one  after  another,  coughing  in  the  same  man- 
ner upon  each  of  them,  or  rather  coughing  out  their  re- 
spective sounds.  In  doing  this,  he  will  exhibit  that 
property  of  the  voice  which  makes  explosive  stress. 
He  may  not  succeed  at  once  in  displaying  this  function  to 
the  best  advantage,  but  let  him  go  on  :  it  will  come  by  a 
little  time  and  practice.  With  a  teacher  there  will  be  no 
difficulty,  nor  will  any  exist  long  for  those  who  practice 
alone,  if  they  belong  to  the  class  of  resolute  spirits,  who 
when  they  do  not  find  a  way  ready  made,  set  about  to 
make  one  for  themselves. 

This  sudden  and  very  forcible  utterance  of  the  vowels, 
is  STRESS  in  its  most  simple  and  elementary  state,  and  in 
its  highest  degree.  It  is  a  function  of  the  voice,  which 
may  be  acquired  by  practice  upon  the  elements,  so  as  to 


VOWEL    SOUNDS.  ** 

be  at  the  command  of  the  speaker  at  any  time  he  may 
wish  to  employ  it,  in  the  utterance  of  words  or  syllables. 
It  is  necessary  to  use  it  in  reading  and  speaking,  in  various 
degrees,  according  to  circumstances.  We  cannot  now 
shew  all  the  important  uses  to  which  it  may  be  applied. 
The  student  may  however,  assure  himself  that  the  acqui- 
sition of  it  to  a  public  speaker,  is  worth  all  his  pains ;  and 
that  the  only  mode  of  obtaining  it,  is  by  the  method  of 
practice  we  have  enjoined. 

We  will  notice  the  following  important  applications  of 
stress.  Vowels  form  the  body  of  most  syllables,  and  the 
audible  and  satisfactory  distinctness  of  all  short  syllables, 
in  public  speaking,  depends  upon  the  degree  of  abrupt- 
ness and  force  with  which  they  are  exploded  by  the  voice. 
The  kind  of  stress  acquired  by  exploding  the  vowels 
constitutes  one  of  the  forms  of  emphasis.  This  stress 
is  also  the  natural  symbol  of  great  energy  of  feeling. 

But  independent  of  emphasis,  or  the  indication  of  any 
particular  state  of  the  feelings,  if  words  are  not  marked 
by  a  due  proportion  of  percussive  or  explosive  stress, 
they  will  not  be  audible  through  an  extensive  space. 
Brilliancy,  sprightliness,  and  energy  of  delivery,  without 
which  oratory  has  no  existence,  and  which  are  essential 
to  render  a  public  speaker  interesting,  are  dependent  on 
a  well  marked  and  sustained  stress. 

As,  then,  the  power  of  uttering  the  vowels  in  the  man- 
ner described,  is  necessary  to  a  distinct  articulation  of 
these  sounds,  (especially  in  short  syllables,)  and  as  it  is 
one  in  which  even  practised  speakers*  are  very  often  de- 

I  was  made  sensible,  some  years  ago,  by  the  author  of  the 
"  Philosophy  of  the  Human  Voice,"  of  my  own  want  of  sufficient 

3* 


30  GRAMMAR    OF    ELOCUTION. 

ficient,  a  table  of  those  elements  is  subjoined.  When 
the  student  can  explode  them  with  effect,  he  may  be  as- 
sured he  has  obtained  a  mastery  over  one  of  the  most 
important  uses  of  his  voice,  as  respects  articulation,  as 
well  as  other  points  of  the  art.  When  a  class  is  to  be 
exercised,  each  individual  should  be  required  to  explode 
every  element,  found  on  the  table,  with  the  utmost  degree 
of  force,  united  with  abruptness,  which  he  can  command; 
and  then  the  whole  class  should  pronounce  them  in  con- 
cert. This  practice,  besides  the  advantages  already 
mentioned,  will  be  found  to  be  a  more  effectual  method 
than  any  other  of  obtaining  a  strong  and  powerful  voice — 
of  strengthening  such  voices  as  are  feeble,  and  of  giving 
fullness  and  strength  of  tone  to  all  in  proportion  to  their 
natural  capacities. 

The  student  has  not  obtained  that  use  of  his  voice  which 
it  is  the  object  of  the  table  to  teach  him,  until  every 
sound  it  contains  can  be  uttered  with  the.  suddenness  of  the 
report  of  fire-arms,  without  any  apparent  effort  preceding 
the  explosion,  with  a  very  high  degree  of  percussive  force, 
and  with  strength  and  fullness  of  tone.  We  should  per- 
haps add,  that  we  greatly  doubt  whether  persons  in  general 
will  ever  gain  strength  of  voice,  in  any  other  way,  than 
by  exploding  the  elements :  and  we  know  that  persons  with 
feeble  voices  have  been  rendered  capable  of  speaking 
forcibly  and  impressively  in  public,  by  a  perseverance  in 
the  practice  here  recommended. 


explosive  stress,  and  was  induced,  by  his  advice,  to  commence  the 
practice  here  recommended.  I  found  it  completely  successful  in 
obtaining  this  use  of  the  voice. 


VOWEL    SOUNDS 


TABLE.        IX      ^ 

1 

e 

as  heard  in 

e-ir. 

2 

a 

a-11. 

3 

0 

o-r. 

4 

a 

a-ge. 

5 

e 

e-dge. 

6 

a 

a-nn. 

7 

a 

a-t. 

8 

0 

o-ld. 

9 

ou 

OU-T. 

10 

ee 

ee-\. 

11 

i 

i-t. 

12 

00 

oo-ze. 

13 

u 

p-M-11. 

14 

oi 

b-oy. 

15 

i 

t-sle. 

UNIVERSITY 


OF  THE  PROLONGATION  OF  THE  VOWEL 
ELEMENTS. 

Articulation  is  rendered  distinct  and  impressive  by 
a  prolongation  of  certain  vowel  elements,  as  well  as 
by  giving  diem  percussive  force.  Many  of  them ,  can 
be  lengthened  in  pronunciation,  to  any  desirable  extent 
without  altering  their  distinguishing  and  appropriate 
sounds,  and  with  an  increase  of  their  beauty  and  expres- 
siveness. 

In  prolonging  the  vowel  elements,  the  student  should 
carefully  attend  to  the  following  particulars.  Their  na- 
tural and  appropriate  sound  is  to  be  preserved — they  are 
to  be  altered  only  in  length — there  is  to  be  no  drawl  in 
their  pronunciation,  nor  any  mixture  of  song — each  is  to 
have  the  character  of  pure  speech.  These  several  par- 
ticulars will  be  secured  by  attending  to  the  following  di- 
rections. 


32 


GRAMMAR  OF    ELOCUTION. 


Let  the  voice  open  upon  the  element  with  some  de- 
gree of  fullness  and  abruptness, — let  it  gradually  and 
equably  diminish  in  volume  of  sound  as  it  progresses, 
ending  in  a  feeble  vanish  of  sound  into  silence.  This  full 
opening  and  final  vanish  are  essential  to  the  preservation 
of  pure  speech.  The  prolongation  of  the  alphabetic  ele- 
ments is  an  exhibition  of  quantity  in  its  most  elementary 
state,  as  their  explosion  is  of  percussive  stress  in  its  sim- 
plest form. 

This  mode  of  uttering  some  of  the  vowels  ensures,  by 
its  protracted  time,  their  contradistinguishing  impression 
on  the  ear,  and  is  besides,  a  beauty  of  delivery,  the  uses 
of  which  are  to  be  hereafter  more  fully  treated,  in  the 
consideration  of  the  time  of  the  voice  or  quantity.  It  is 
most  satisfactorily  demonstrated  by  the  teacher's  voice, 
but  may  be  illustrated  by  the  annexed  diagram. 

O-oo. 

Supposing  the  element  to  be  uttered  is  o,  in  pro- 
longing it,  it  will  degenerate  into  the  sound  of  00,  (as 
before  explained,)  and  the  diagram  tapering  to  a  point 
shows  the  gradual  or  rather  equable  decrease  of  the  force 
from  the  opening  of  the  element  upon  the  ear,  till  it  dies 
away  in  silence. 

Table  of  those  Vowel  Sounds  which  can  be  protracted  in 
utterance  without  changing  their  natural  expression. 


as  in 


a-we. 
fl-ge. 
fl-rm. 
0-ld. 


VOWEL    SOUNDS. 


33 


5 
6 

7 

8 

9 

10 


ou 

ee 

oo 

oi 

i 

ew 


as  in 


ow-r. 

ee-1. 

oo-ze. 

b-oy. 

t-sle. 

b-eaw-ty. 


QUESTIONS    TO  RECITATION  SECOND. 

1.  Which  of  the  vowel  sounds  are  clear  dipthongs  by 
prolongation  ? 

2.  Are  the  vowel  sounds  susceptible  of  explosion  ? 

3.  What  are  the  circumstances  which  render  the  ex- 
plosion of  the  vowel  sounds  satisfactory  ? 

4.  What  are  the  particular  advantages  of  percussion 
in  the  utterance  of  the  vowels  ? 

5.  The  student  is  required  to  explode  each  vowel 
sound. 

6.  By  what  other  means  than  explosion  can  the  vowels 
he  rendered  distinct  and  impressive  ? 

7.  Which  of  the  vowel  sounds  are  susceptible  of  pro- 
longation ? 

8.  What  are  the  circumstances  which  should  attend 
the  prolonged  utterance  of  the  vowel  sounds  ? 


34  GRAMMAR    OF    ELOCUT10X. 

RECITATION  THIRD. 

It  is  difficult,  indeed  impossible,  to  describe  exactly, 
upon  paper,  the  position  of  the  organs  of  speech  in  the 
formation  of  elements.  But  in  uttering  the  consonants  the 
student  will  easily  be  led  to  make  all  the  necessary  obser- 
vations for  himself,  by  attending  to  the  following  remarks. 

B.  P.  M.  If  the  vowel  a,  as  it  is  heard  in  the  syllable 
at,  be  placed  before  each  of  these  elements,  the  sounds  of 
ab,  ap,  and  am,  will  be  produced.  Let  these  syllables 
be  slowly  spoken,  and  the  positions  of  the  organs  of  speech 
which  occur  in  the  formation  of  the  three  consonants  be 
retained,  until  they  have  become  an  object  of  sufficient  at- 
tention, and  the  method  of  giving  precision  and  force  to 
these  elements  will  thus  become  apparent.  It  consists 
simply  in  the  power  of  increasing  the  muscular  force  of 
the  parts  brought  into  contact  in  their  formation,  and  of 
changing  rapidly  from  one  elementary  position  to  another. 
This  will  be  evident  by  uttering  the  sounds  fea,  pa,  wwz, 
with  great  force  and  in  quick  succession. 

W.  Wh.  Q.  The  first  of  these  elements  is  heard  in 
w-0 ;  the  second  in  wh-oi  ;  the  third  in  ^-ueer.  Let  the 
organs  be  arrested  upon  the  consonant  sound,  and  their 
position  will  become  perceptible.  There  is  not  as  strong 
a  contact  of  parts  in  the  utterance  of  these  as  in  that  of 
Z>,  p,  m. 

D,  J,  L,  and  final  R,  are  heard  each  in  their  turn  at 
the  end  of  the  words  ai-d,  geor-ge,  a-//,  wa-r.  The  R 
which  commences  a  word  or  syllable  should  be  trilled 
(but  by  a  single  slap  of  the  tongue  only,)  as  in  the  word 
r-uin. 


CONSONANT    SOUNDS. 

The  special  position  of  the  organs  and  the  degree  of 
force  exerted  by  them  in  pronouncing  the  elements  T,  Th, 
Th  (aspirate,)  Y,  F,  S,  V,  Sh,  Z,  Zh,  X,  X  (aspirate,)  K, 
G,  H,  Ng,  Ch,  may  be  ascertained  by  slowly  pronouncing 
the  words  T-ale,  TA-ou,  TA-istle,  Y-e,  F-ar,  S-ir,  F-ale, 
SA-ave,  Z-one,  a-z-ure,  ve-z,  e-#-ample,  &-ick,  g-ag, 
fl-orse,  si-rig,  CA-urch.   After  slowly  pronouncing  all  the 
words  here  put  for  illustration  of  the  sounds  of  the  con- 
sonant elements,  let  the  elements  be  separated  by  the 
voice,  from  the  rest  of  the  word,  for  the  particular  pur- 
pose of  contemplating  the  position  of  the  organs  of  the 
mouth ,  informing  them,  and  of  thus  ascertaining  the  means 
of  increasing  their  force.     Each  element  is   separated 
by  a  horizontal  line  from  the  rest  of  the   word,   as 
TA-ou,  &c. 

Though  the  consonant  elements  cannot  be  uttered  with 
as  much  explosive  force  as  the  vowels,  they  are  yet  ca- 
pable of  a  considerable  degree  of  it,  and  some  of  more 
than  others.     A  distinct  articulation  requires  a  vigorous 
utterance  of  the  consonants,  as  well  as  of  the  vowels. 
Many  syllables  are  entirely  composed  of  consonants, — 
the  boundaries  of  syllables  often  consist  of  these  ele- 
ments,— it  must  be  evident  therefore,  that  their  forcible 
pronunciation  must  be  essential  to  a  distinct  and  audible 
utterance,  through  an  extensive  space.     Indeed  students 
may  assure  themselves,  that  if  they  do  not  exercise  their 
voices,  they  will  fail  in  their  attempts  to  become  audible, 
when  addressing  large  assemblies,  and  that  if  barely  au- 
dible, their  delivery  will  be  destitute  of  impressive  ener- 
gy.    On  this  account  it  will  be  necessary  to  practice  the 
explosion  of  the  consonant  sounds  alone.    Let  the  student 
turn  to  the  table  and  do  this. 


36  GRAMMAR   OF    ELOCUTION. 

The  following  are  those  on  which  he  is  to  practice  : 
b,  d,  g,  v,  z,  y,  w,  th  (as  in  thou,)  ng,  /,  m,  w,  r  trilled,  r 
final. 

The  consonants,  with  the  exception  of  the  mutes  P, 
T,  K,  can  all  be  prolonged  in  utterance  without  altering 
their  distinguishing  sounds,  as  vocal  elements.  But  when 
they  begin  words  or  syllables,  or  make  a  part  of  then), 
(unless  where  they  are  the  terminating  elements  of  such 
words  and  syllables,)  they  seldom  admit  of  prolongation. 
If  they  are  prolonged  improperly  die  pronunciation  is  dis- 
agreeable and  affected.  Many  persons,  nevertheless,  un- 
consciously, acquire  habits  of  this  affected  articulation. 
They  will  pronounce  the  word  man  almost  as  if  it  were 
written  uniman,  (giving  somewhat  of  the  feeble  sound  of 
e,  as  heard  in  the  word  e-rr  to  the  M,  and  dwelling  on  the 
sound  of  the  m.)  Again  they  speak  the  word  no,  almost 
as  if  written  unno :  swim  as  if  written  sooim  :  pluck  as  if 
written  pulluck,  £cc.  We  subjoin  a  table  of  the  elements, 
most  commonly  mispronounced  in  the  manner  described, 
and  recommend  the  pupil  to  sound  them  once  in  the  pro- 
longed and  affected  manner,  which  it  is  desirable  to 
avoid.  Students  at  college  are  apt  to  acquire  the  habit 
we  have  been  describing.  It  is  not  unfrequent  in  the 
pulpit,  and  is  often  heard  on  the  stage.  Dr.  Rush  gives 
the  following  instance  of  the  mispronunciation  of  a  distin- 
guished actor. 

"  Canst  thou  not  m-inister  to  a  m-ind  diseased, 
P/-uck  from  the  m-emorya  r-ooted  sorrow." 

The  effect  of  this  mode  of  pronunciation  will  be  de- 
monstrated to  the  ear,  by  giving  the  true  elementary 
sounds  in  the  table  with  considerable  prolongation. 


CONSONANT  SOUNDS. 


1 

b 

2 

d 

3 

f 

4 

g 

5 
6 

i 

7 

m 

8 

n 

9 

q 

10 

r 

11 

V 

12 

w 

13 

y 

14 

z 

15 

h 

TABLE. 


as  in 


Z-ight. 

m-an. 

n-o. 

^-ueer. 

p-r-ay. 

v-ale. 

w-oe. 

y-ours. 

2-one. 

A-ang. 


Some  of  the  consonants,  however,  occasionally  re- 
quire to  be  lengthened  when  they  occur  as  the  termina- 
ting elements  of  words  and  syllables.  The  following  is 
a  table  of  those  which  most  frequently  require  prolonga- 
tion,— in  order  to  give  a  very  distinct  articulation  and  an 
emphatic  or  a  solemn  expression  to  the  words  or  sylla- 
bles whioh  they  thus  terminate. 


6-old. 
rf-eign. 
/-ather. 
^-ather. 


b 
d 
1 

m 
n 

ng 
r 
v 
z 


TABLE. 


as  in 


OT-b. 


a-tt. 
ar-m. 

OW-/1. 


wa-r. 


ama-z-e. 


38  GRAMMAR    OF    ELOCUTION. 

When  two  elements  having  the  same  sound  occur, 
they  cannot  both  be  uttered  without  making  a  pause  be- 
tween them.  Where  the  elements  are  duplicated,  if  they 
admit  of  it,  one  is  prolonged  as  in  a//eviate — annihilate 
— immediate.  If  the  element  is  a  mute  or  necessarily 
short,  there  is  a  perceptible  stop  to  be  made  after  it,  as  in 
at-tend — ap-pear,  &c.  This  stop  is  not  however,  to  be  so 
long  as  to  produce  affectation.  To  avoid  this  the  pro- 
longation or  pause  must  not  be  extended  farther  than  is 
necessary  to  absolute  distinctness.  This  may  be  insured 
in  the  articulation  under  these  circumstances  without  pe- 
dantry. 


TABLE  OF  CONSONANTS  AND  VOWELS  : 

THE  CONSONANTS  BEING  PLACED  FIRST. 

The  following  consonant  sounds  which  are  all  aspirates 
should  never  be  prolonged  beyond  what  is  necessary  to 
distinct  articulation,/,  5,  A,  wh,  th,  sh,  ch. 

The  student  should  exercise  himself  in  uttering  these 
alone,  and  in  putting  a  sudden  stop  to  the  sound  of  each 
of  them,  the  instant  it  has  distinctly  impressed  the  ear. 


TABLE. 


CONSONANTS. 


VOWELS. 


1 

b 

1 

e 

as  in 

e-rr. 

2 

d 

2 

a 

a-11. 

3 

f 

3 

o 

o-r. 

4 

g 

4 

a 

a-ge. 

5 

h 

5 

e 

e-dge. 

6 

i 

6 

a 

a-rm. 

CONSONANT  AND  VOWEL  SOUNDS. 


39 


7 
8 
9 

10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 
21 
22 
23 
24 


LNTS.                             VOWELS. 

k 

7 

a 

as  in 

«-t. 

1 

8 

0 

o-ld. 

m 

9 

o 

oa-ts. 

n 

10 

ou 

ow-r. 

P 

11 

ee 

ee-1. 

q 

12 

i 

t-t. 

r 

13 

oo 

oo-ze. 

s 

14 

u 

p-M-11. 

t 

15 

oi 

b-oy. 

V 

16 

i 

t-sle. 

w 

17 

ew 

b-eau-ty 

y 

z 

th 

th(aspir't) 

wh 

sh 

ch 

A  few  specimens  of  the  sounds  heard  in  the  junction 
of  some  of  these  consonants  and  vowels,  are  here  given 
as  examples  of  the  mode  of  uniting  all  the  elements  in 
practising  on  this  table. 


I. 

II. 

III. 

IV. 


bah. 
fee. 
lie. 
pou-r. 


V. 

VI. 

VII. 


too. 
ye. 

shah. 


No.  I.  of  the  above  sounds  is  effected  by  uniting  No. 
1  of  the  consonant  table  with  No.  6  of  the  vowel :  No. 
II.  by  uniting  No.  3  of  the  consonant  table  with  No.  1 1 
of  the  vowel :  No.  III.  by  uniting  No.  8  of  the  conso- 
nant table  with  No.  16  of  the  vowel ;  No.  IV.  by  uniting 
No.  11  of  the  consonants  with  No.  10  of  the  vowels  : 
No.  V.  by  uniting  consonant  No.  15  with  vowel  No.  13  : 


40 


GRAMMAR    OF    ELOCUTION. 


No.  VI.  by  uniting  No.  18  with  11  :  No.  VII.  by  uniting 
No.  23  with  No.  6. 

In  the  use  of  the  foregoing  table  let  every  consonant 
(except  the  mutes  and  aspirates)  be  considerably  protract- 
ed, and  then  exploded  without  pause  upon  every  vowel, 
the  vowels  not  being  protracted  more  than  is  necessary  to 
their  simple  articulation.  Let  the  mutes  &,  p,  t,  be  ex- 
ploded with  force  upon  each  vowel.  Afterwards  let  each 
consonant  (except  the  mutes)  be  shortened  as  much  as 
possible  and  exploded  upon  the  vowels,  the  vowel  sounds 
(with  the  exception  of  the  short  ones)  being  lengthened 
as  much  as  possible  in  their  articulation.  This  exercise 
will  familiarise  the  ear  with  their  sounds  and  will  shew 
what  may  be,  and  what  ought  to  be  done  in  pronouncing 
them. 


TABLE  OF  VOWEL  AND  CONSONANT 
SOUNDS: 

THE  VOWELS  BEING  PLACED  BEFORE   THE    CONSONANTS. 

Their  union  will  make  the  compounds  which  are  to 
furnish  the  exercises  of  this  table. 


TABLE. 


VOWELS. 


as  in 


CONSONANTS. 


.  3 


c-rr. 

1 

b 

o-ll. 

2 

d 

o-r. 

3 

f 

a-ge. 

4 

g 

e-dge. 
a-rm. 

5 
6 

i 

TOWEL    AND    CONSONANT    SOUNDS. 


41 


VOWELS. 

7 

a 

as  in 

a-t. 

8 

0 

o-ld. 

9 

o 

oa-ts. 

10 

ou 

OH-r. 

11 

ee 

ee-1. 

12 

i 

i-t. 

13 

00 

oo-ze. 

14 

u 

p-M-11. 

15 

oi 

b-oy. 

16 

i 

i-sle. 

17 

ew 

b-eaw-ty 

CONSONANTS. 


7 
8 
9 

10 
11 
12 
13 
14 
15 
16 
17 
18 
19 
20 


1 

m 
n 

P 
r 
s 
t 
v 
x 
z 

ng 
th 

sh 
ch 


VOWELS.            CONSONANTS.            SOUNDS 

Union  of  No.   7 

with  No.    1 

make  ab. 

10 

13 

out. 

1 

10 

up. 

12 

3 

if' 

17 

12 

use. 

1 

11 

err. 

3 

4 

og. 

Directions  for  the  use  of  the  foregoing  Table. 

1.  Let  each  of  the  long  vowels  be  protracted  as  much 
as  possible,  in  combination  with  b,  d,  g,  J,  m,  n,  ng,  r,  v, 
which  are  also  to  be  protracted  as  much  as  possible,  as 
awb,  aid,  ow'd,  &c. 

2.  Let  each  of  the  short  vowels  be  sounded  with  b,  d, 
g,  I,  m,  n,  ng,  r,  v,  giving  the  utmost  prolongation  to  the 
consonants,  as,  a-&,  a-d,  0-6,  e-d,  &c. 

4* 


42  GRAMMAR    OF    ELOCUTION'. 

3.  Let  the  long  vowels  be  sounded  with/*,y,  k,  p,  s9  t, 
v,  #,  Z9  th,  shj  ch,  giving  as  much  prolongation  as  possible 
to  the  vowels,  but  not  more  than  is  necessary  for  distinct- 
ness to  the  consonants. 

4.  Let  the  short  vowels  be  united  with  the  last  named 
consonants,  let  as  much  explosive  force  as  possible  be 
given  to  the  syllables  made  by  the  junction,  without  more 
than  usual  protraction  of  either  vowels  or  consonants. 

The  practice  upon  these  tables  may  be  thought  by  the 
indolent  somewhat  irksome  ;  but  the  diligent  student  may 
assure  himself  that  more  is  not  required  than  he  will  find 
substantially  useful  in  familiarizing  his  ear  with  the 
real  sounds  of  his  language,  in  giving  him  an  intimate 
knowledge  of  their  vocal  capacity,  and  in  obtaining  a 
forcible  and  precise  action  of  the  organs  of  speech  in 
the  pronunciation  of  syllables. 


COMBINATIONS    OF  CONSONANT  ELE- 
MENTS. 

As  the  greatest  obstacles  to  a  distinct  articulation  oc- 
cur in  the  pronunciation  of  the  consonant  elements,  we 
proceed  to  construct  a  table  of  those  elements  in  combi- 
nation with  each  other.  We  do  this  because  it  is  in  giv- 
ing precision  and  full  force  to  each  elementary  sound, 
and  in  effecting  the  difficult  and  rapid  changes  which  the 
utterance  of  a  succession  of  these  consonants  require, 
that  a  principal  difficulty  of  articulation  consists.  Exer- 
cise in  every  kind  of  combination  is  therefore  the  proper 
remedy  for  an  indistinct  utterance.  All  the  mere  direc- 
tions in  the  world,  whether  found  in  books  or  out  of  them, 


CONSONANT    SOUNDS.  43 

will  be  of  no  avail :  and  if  this  grammar  is  to  be  useful, 
it  will  be  so  because  it  has  deviated  from  the  common 
track  by  insisting  upon  practice  upon  the  elements  :  be- 
cause it  leaves  nothing  to  the  student ;  but  puts  before 
»him,  in  black  and  white,  a  series  of  exercises  which  he 
is  to  practice  with  his  voice,  and  which  he  is  to  practice, 
let  it  be  repeated,  until  the  one  particular  branch  of  the 
art  over  which  it  is  the  object  of  such  exercises  to  give 
him  a  complete  mastery,  is  attained. 

The  articulation,  in  the  use  of  these  tables  will,  per- 
haps, at  first,  be  somewhat  stiff  and  formal ;  as  the  teacher 
ought  to  insist  on  the  exact  pronunciation  of  every  ele- 
ment contained  in  them  in  the  order  in  which  they  are 
found :  but  if  the  organs  of  speech  are  diligently  and 
perseveringly  exercised  in  these  difficult  combinations, 
they  will,  by  degrees,  acquire  facility  as  well  as  precision, 
grace  as  well  as  force  :  and  in  the  end  distinctness  and 
ease  will  be  united  and  permanently  secured.  Exact- 
ness and  grace  go  together  in  other  gymnastic  exercises, 
in  fencing,  in  riding,  in  boxing  ;  why  should  they  not  also 
be  the  result  of  the  nobler  gymnastics  of  the  voice. 


TABLE  OF  CONSONANT  SOUNDS. 

IN  COMBINATION. 


Bd.  bdst. 

bl.    bid.  bldst. 

biz.  list, 
br. 

bs.  bst. 
bz. 


asm 


a-ble,   trou-Wd,   trou-WJV,  trou- 
pes, trou-bVst. 
6r-and. 
ri-fo,  rob-b'st. 
pro-fces. 


44 


GRAMMAR   OF    ELOCUTION. 


dl.      did.      dh, 

dlst. 

dr. 

dz. 

dth.  dths. 
fd.fdst. 
fl.fld.fltt.flx. 

fs.fst. 

ft.fti.ftit. 

gd.  gdst. 
gl.    gld.     glz 
gist. 

fz.git. 

jd. 

kd. 

Id.     kid.    klz. 

klst.  kldst. 
kn.  knd.   knz. 

knst.  kndst. 
kr. 

ks.  kst. 
ib.  Ibd.  Ibz. 
Id.  Idz.  Idst. 
If.lfs.lft. 

lk.lkd.lks.lkt. 

Vets. 

Im.  Imd.  Imz. 
In. 

Ip.  Ips.  Ipst. 
Is.  1st. 
It.  Itz. 
Iv.  hd.  Ivz. 
Iz. 
hh.  Ishd. 


as  in 


can-die,    ban-drd,    can-dies,   fon- 

dVst. 
dr-ove. 
dee-ds. 

brea-dth,  brea-dths. 
ree-fd,  ree-fd'st. 
fl-ame,  tri-fl'd,  tri-fl'*t,  iri-fles. 
fr-ame. 

[au-ghs,  \au-gWst. 
wa-ft,  \va-fts,  } 


brag-ged,  bra^-g^st. 

gl-ow,  bag-gled,  man-gles,   inan- 

gl'st. 
pT-ave. 


un-c/e,  tin-c/'rf,  truc-kles,  \ruc-kFst, 
truc-AWV. 


cr-oney. 

thin-A:*,  tinn-Vst. 

e-lbe,  bu-lb'd,  bu-lbs. 

bo-Id,  bo-Ids,  bo-ld'st. 

e-lf,  e-lfs,  de-lft  ware. 

)u-lge. 

m-lk,      mi-lk'd,     si-Iks,     mu-lct, 

mu-lcts. 

-Im,  vibe-lm'd,  \vbe-lms. 
a-lln. 

\e-lp,  be-lps,  be-lp'st. 
a-lse,  fa-lVst. 
e-lt,  ba-lts. 
;he-Zre,  she-/t>W,  e-lves. 


fi-Wi, 


CONSONANT    SOUNDS. 


45 


Ith.  Iths. 

as  in 

ea-ftA,  healths. 

md. 

Yito-mb'd. 

mf. 

u-wpA-ry. 

mt.  mtz. 

Ite-mpt,  atte-mpte. 

mz.  mst. 

o-mbs,  ento-mb'st. 

nd.  ndz.  ndst. 

-nd,  ba-ncfo,  se-nd'st. 

nj.  njd. 

&-nge,  ra-n^'c?. 

nk.  nks.  nkst. 

n-nk,  thi-wA:s,  thi-wA:'5^. 

nt.  ntst.  ntz. 

Q-nt,  wa-nt's^,  wi-nts. 

nz. 

-ns. 

nsh.  nshd. 

i-nch,  fli-wcAW. 

mt. 

wi-nc'd. 

ngd. 

ba-n^'rf. 

ngz. 

o-ngs. 

ngth.  ngths. 
pi.    pld.    plz. 

tte-ngth,  stie-ngths. 
pl-uck,    rip-pled,     Tip-pies,     rip- 

plst. 

pVst. 

pr. 

pr-zy. 

ps.  pst. 

c\i-ps.  nip-pV. 

rb.    rbd.    rbz 

\e-rb,    ba-r6W,    he-r65, 

ba-r6'st, 

rbst.  rbdst. 

\)&-rb'd>st. 

rd.  rdz.  rdst. 

3a-rrf,  ba.-rds,  hea-r^Tst. 

rf-  rft. 

su-rf,  wha-rf  d. 

rg.  rgz. 
rj.  rjd. 

ba-rge,  u-rg'd. 

rk.    rkt.     rkz 

ha-r^,     bz-rk'd,    a-ra, 

ba-rA:'^, 

rkst.  rktst. 

ba-rA:Ws^. 

rl.     rid.      rlz 

sna-r/,  hu-rl'd,  sna-r/5, 

sna-r/'*^, 

rlst.  rldst. 

snz-rVd'st. 

rm.  rmd.  rmz. 

a-rm,     a-rwW,     a-nn*, 

wrist, 

rmst.  rmdst. 

a-rm>d)st. 

rn.rnd.rnt.rnz.i 

bu-rn,     bu-rn'c?,     bu-rn^ 

,     u-rn*, 

rnst.  rndst. 

ea-rn's^,  ea.-rri'd'st. 

rp.  rpd.  rpz. 

ha-rp,  ha-rp'rf,  ha-rp«. 

rs.  rst.  rsts. 

hea-r*e,  fea-r'*^,  bu-r*te. 

rt.  rts.  rtst, 

hea-rt,  hea-r^,  hu-rt'st. 

46 


GRAMMAR  OF    ELOCUTION. 


rv.    rvd.    rvz. 

as  in 

cu-rve,   cu-rv'd,   cu-rves,  cu-rv'st, 

rvst.  rvdst. 

cu-rv'cFst. 

rx.  rxt. 

io-rks,  msi-rk'st. 

rz. 

e-rrs. 

rch.  rcht. 

sea-rcA,  sea-rcAW. 

rsh. 

ha-r«A. 

rth.  rths. 

hea-r^A,  hea-r^A*. 

sh.  shd. 

*A-ip,  pu-^A'df. 

3k.     skd.    sks 

ma-^A;,     ma-sk'd,     ma-sks      ma- 

skst. 

sk'st. 

si.  sld. 

*/-ay,  ne-s-l-Fd. 

sm. 

5m-oke. 

sn. 

*w-ail. 

sp.  sps. 

sp~a,  whi-*p*. 

tt.  str.  sts. 

st-arve,  str-ons.,  \)u-sts. 

th.    thd.     thz. 

|*A-ine,  \vrea-<A'rf,  wrea-fA*,  wrea- 

thst. 

avfc 

th.    thm.     thr. 

^A-istle,   rhy-^Aw,    Mr-ough,   hea- 

thz. 

ths. 

tl.  tld.  tlz.  tlst. 

it-tie,    set-tied,   bzt-tles,  set-tfst, 

tldst. 

set-tfd'st. 

tr. 

r-avels. 

tz.  tst. 

\&-ts   comba-^'*^. 

vd.  vdst. 

swer-i>W,  H-v'd'st. 

vl.  vld.  viz.  vlst. 

sw-vel,  dn-veVd,  dri-vels,  dri-vel'st, 

vldst. 

dri-vel'd'st. 

vn, 

dri-ven. 

vz. 

i-ves. 

vst. 

i-v'st. 

zl.    zld.     zlz. 

muz-zle,  muz-zVd,  muz-zles,  muz- 

zlst.  zldst. 

zl'st,  muz-zfd'st. 

zm.  zmz. 

pa-sw,  spa-sms. 

zn.    znd.  znz. 

m-so7i,  imprison  V,   ipri-sons,  im- 

znst.  zndst. 

ipri-son'st,  impri-son'd'st. 

cht. 

fet-cAW, 

CONSONANT    SOUNDS.  47 

Before  the  student  proceeds  to  reading  and  declama- 
tion, we  recommend  that  he  should  exercise  himself  upon 
the  following  short  sentences.  They  are  selected  for  the 
purpose  of  giving  facility  and  precision  of  articulation  in 
the  use  of  the  combinations  in  the  foregoing  tables ;  and 
some  of  the  most  difficult  combinations  are  frequently 
repeated  in  them. 

And  surely  never  lighted  on  this  orb,  which  she  hard- 
ly seemed  to  touch,  a  more  delightful  vision.  Burke. 

The  evening  was  fine  and  the  full  orb'd  moon  shone 
with  uncommon  splendor. 

Till  that  a  capable  and  wide  revenge  swallow  them 
up.  Shakspeare. 

He  was  incapable  of  a  mean  or  questionable  action. 

He  was  amiable,*  respectable,  formidable,  unbearable, 
intolerable,  unmanageable,  terrible. 

He  was  branded  as  a  traitor. 

Thou  proUst  my  wound,  instead  of  healing  it. 

Now  set  the  teeth  and  stretch  the  nostril  wide. 

But  Ruth  clave  unto  her. 

Create  a  soul  under  the  ribs  of  death. 

Gentlemen  may  cry  peace. 

Can  you  say  crackers,  crime,  cruelty,  crutches. 

It  was  an  affair  of  pic-nicks. 

It  was  the  act  of  all  the  acts  of  government  the  most 
objectionable. 


*  The  syllables,  ble,  pie,  c/e,  &c.  are  hardly  ever  pronounced  at 
the  end  of  long  words  with  sufficient  distinctness  and  force,  to  be 
heard  through  an  extensive  space. 


48  GRAMMAR    OF    ELOCUTION. 

The  government  of  England  is  a  mixed  government. 

The  spm-dk  and  the  loom. 

We  saw  on  the  road,  large  droves  of  cattle. 

His  deeds  speak  his  praise. 

The  breadth  thereof  was  ten  cubits. 

What  thou  wouldst  highly,  that  wouldst  thou  holily. 

They  next  reef'd  the  top-sails. 

If  I  quench  thee  thou  flaming  Minister. 

A  frame  of  adamant — a  soul  of  fire. 

No  dangers  fright  him  and  no  labors  tire. 

He  laughs  at  me. 

Thou  look'st  from  thy  throne  in  the  clouds,  and  laugh' st 
at  the  storm. 

He  begged  pardon  for  having  troubled  the  house  so 
long. 

The  glow-worm  shows  the  matin  to  be  near. 

The  table  groans  beneath  its  burthen. 

Arm  it  with  rags  a  pigmy  straw  will  pierce  it. 

Thou  wagg'st  thy  tongue  in  vain. 

He  was  hedged  in  on  every  side. 

Racked  with  whirlwinds. 

Well  done  said  my  uncle  Toby. 

Victory  will  weaken  the  enemy. 

Think1  st  thou  so  meanly  of  my  Phocion. 

Where  does  the  river  Elbe  arise  ? 

We  frequently  saw  the  elk  in  our  journey. 

Cry  hold,  hold. 

The  wolf,  whose  howl's  his  watch. 

I  prefer  the  elm  to  the  oak. 

FalVnJaWnJaWnJaWn,  faWn  from  his  high  estate. 

There  was  no  help  for  it. 


SENTENCES.  49 

He  watch'd  and  wept,  he  felt  and  prayed  for  all. 

If  this  were  a  wilfully  false  accpunt  of  Mr.  Hastings, 
the  author  deserves  the  severest  punishment. 

It  was  a  species  of  calx  which  he  shewed  me. 

Halls  of  Assembly. 

The  \vordjilch  is  of  doubtful  derivation. 

Then  if  thou  faWst,   O  !    Cromwell,  thou  faWst  a 
blessed  martyr. 

Health  is  indispensible  to  the  soldier. 

Those  who  lie  entombed  in  the  public  monuments. 

The  attempt,  and  not  the  deed,  confounds  us. 

The  tombs  of  our  ancestors. 

But  truth  and  liberty  and  virtue,  would  fall  with  him. 

The  song  began  from  Jove. 

Do  you  mean  plain  or  playing  cards  ? 

The  range  of  the  vallies  is  his  pasture. 

He  was  the  first  ambassador  sent  from  Colombia. 

Swords  and  pens  were  eagerly  employed  in  its  de- 
fence. 

I  do  uot  flinch  from  the  argument. 

He  never  winced  for  it  hurt  not  him. 

Mind  you  do  not  singe  your  gown. 

Pluck  from  the  memory  a  rooted  sorrow. 

Nipt  in  the  bud. 

Thou  found'st  me  poor  at  first  and  keep'st  me  so. 

The  green  herb  was  his  food. 

We  constructed  an  arc,  and  began  our  voyage  without 
delay. 

The  <mr/beat  heavily. 

The  word  burgh  signifies  a  town  or  city  that  sends  a 
member  or  members  to  parliament. 

5 


50  GRAMMAR   OF    ELOCUTION. 

The  admiral's  barge  appeared  first. 

The  word  earl  originally  was  eorl  the  Saxon  word  for 
nobleman. 

Arm,  warriors,  arm. 

Return  to  thy  dwelling,  all  lonely  return.. 

Weave  the  warp  and  weave  the  woof. 

Have  you  a  copy  of  Smith's  Thucydides. 

But  he  was  to  be  stretched  upon  a  bed  of  Procrustes. 

Droves  of  slaves  manacled  and  tied  together  were  sold 
in  the  market  place. 

The  heights,  depths,  and  breadths  of  the  subject. 

"  That  tear'st  the  bowels  of  thy  mangled  mate." 

I  give  my  hand  and  my  heart  to  this  vote. 

Go  starve  and  be  forgotten. 

The  road  forks  about  a  mile  hence. 

He  errs  in  his  estimate. 

Search  the  scriptures. 

He  was  a  harsh  overseer. 

What  fear'st  thou. 

For  them  no  more  the  blazing  hearth  shall  burn. 

At  the  stern  of  the  ship  we  saw  a  large   dead  fsh 

floating. 

And  he  slew  him. 

By  the  British  constitution  every  man's  house  is  his 
castle. 

This  meteorous  vapor  is  called  will  o'  the  wisp. 

I  thrust  three  thousand  thistles  through  the  thick  of  my 
thumb. 

Man  wants  but  little  here  below,  nor  wants  that  little 
long. 

Foreign  travel  enlarges  and  liberalizes  the  mind. 


SENTENCES.  51 

He  never  swerved  from  his  purpose. 

We  lost  our  best  swivel  gun. 

Thou  liv'st — liv'st  did  I  say  ?  appear'st  in  the  Senate. 

He  was  driven  into  the  snare. 

The  muzzles  of  their  pieces  were  within  a  few  feet  of 
his  breast. 

He  was  attacked  with  spasm  of  the  heart. 

A  prison  with  a  good  conscience,  rather  than  a  palace 
without  it. 

The  bells  tinckled  on  the  ear. 

He  truckles  to  power. 

Thou  chuckVdst  over  thy  gains  too  soon. 

One  extremity  was  pointed,  the  other  buWd. 

The  bulbs  should  be  immersed  in  rain  water. 

The  policy  of  this  prince  was  to  mulct  the  rich  Jews. 

He  mulcts  his  subjects. 

He  holds  his  trust  from  the  people. 

To  the  pert  fairies  and  the  dapper  elves. 

Is  this  delft  ware  ? 

The  costliest  silks  are  manufactured  there. 

Overwhelmed  with  whirlwinds  and  tempestuous  fire. 

His  kindness  overwhelms  me. 

He  halts  between  two  opinions. 

Your  healths  gentlemen. 

Earth  that  entomVst  all  that  my  heart  holds  dear. 

His  attempts  were  fruitless. 

Hold  off  your  hands  gendemen. 

The  sounds  of  horses  hoofs  were  heard  at  a  distance. 

The  songs  of  the  Gondoliers  alone  broke  the  stillness. 

What  want'st  thou  ? 


52  GRAMMAR    OF    ELOCUTION. 

They  were  wrenched  by  the  hand  of  violence  from  a 
congenial  soil. 

Their  sing'd  tops  though  bare,  stand  on  the  blasted 
heath. 

The  strength  of  his  nostrils  is  terrible. 

A  gentle  current  rippled  by. 

He  barb'd  the  dart  by  which  he  fell. 

Do  you  like  herbs  in  your  broth  ? 

Thou  barb'st  the  dart  that  wounds  thee. 

Thou  barb'd'sttiie  dart  by  which  he  fell. 

Many  arcs  were  seen  floating  down  the  stream. 

There  bark'd  and  howled,  within, unseen. 

The  culprit  was  hurled  from  the  tarpeian  rock. 

Words,  Words,  Words! 

Are  the  goods  wharfed  % 

The  burghs  of  Scotland. 

It  was  strongly  urged  upon  him. 

Remark'd'st  thou  that  ? 

Mark'st  thou  ? 

He  snarls  but  dares  not  bite. 

Arnfd  say  ye  ?  Armed  my  lord. 

They  have  arms  in  their  hands. 

The  delinquent  was  burned  in  the  hand. 

Wellington  learnt  the  art  of  war  under  his  brother  in 
India. 

A  boundless  song  bursts  from  the  grove. 

It  was  a  union  of  hearts  as  well  as  hands, 

Earth's  ample  breast. 

He  searched  the  house  for  it. 

It  hurts  me, 


SENTENCES.  53 

Thou  hurfst  his  feelings. 

On  entering  the  palace  the  busts  of  Fox  and  Tooke 
were  conspicuous.* 


*  It  will  be  understood  by  the  reader,  that  the  superscribed  sen- 
tences are  merely  intended  to  subserve  the  purpose  of  exercise  of 
the  articulating  organs,  and  that  therefore  sense  and  connection 
have  not  been  regarded  in  devising  them. 


UECITATION  FOURTH, 

ELOCUTION  is  the  art  of  so  employing  the  Quality, 
Abruptness,  Force,  Time,  and  Pitch  of  the  voice,  in  the 
utterance  of  syllables,  as  to  convey  the  sense  and  senti- 
ment of  discourse  in  the  fullest  manner,  and  with  the 
greatest  possible  gratification  to  the  ear. 

Each'  of  these  properties  of  the  voice,  (except  ab- 
ruptness,) is  exerted  more  or  less  in  the  utterance  of 
every  element  or  syllable.  Every  syllable  is  uttered  by 
voluntary  muscular  effort,  and  therefore  requires  some 
force,  for  this  is  implied  in  all  voluntary  action.  Every 
syllable  consumes  time  in  its  pronunciation.  Every  ut- 
tered sound  has  pitch — finally  a  particular  quality  of 
voice,  (apart  from  the  before  mentioned  properties)  will 
be  apparent  whenever  a  syllable  is  spoken ;  for  no  two 
voices  are  exactly  alike  in  quality.  Abruptness  means 
suddenness  combined  with  fullness,  and  therefore  may  or 
may  not  accompany  the  utterance  of  a  syllable. 

Hence  the  meaning  of  discourse  and  the  impression 
made  by  it,  will  depend  upon  the  relative  degrees  and 
modifications  of  the  Quality,  Abruptness,  Force,  Time, 
and  pitch  of  the  voice. 


GENERAL  CONSIDERATIONS. 

DUALITY  OF  VOICE. 

The  Quality  of  the  voice,  no  doubt  depends  partly, 
on  unknown  circumstances  in  the  structure  and  action  of 
the  organs  of  speech ;  as  the  same  tune  played  upon 


GENERAL    CONSIDERATIONS.  55 

two  organs  or  piano-fortes  will  differ  in  quality  of 
tone,  because  one  instrument  differs  from  another  in  its 
peculiar  power  of  modifying  sound,  owing  to  its  physical 
properties  as  an  instrument. 

The  ancients  employed  a  great  number  of  terms  to 
describe  the  quality  of  the  voice.  Its  most  important 
properties  are  gravity,  or  depth  of  tone ;  fullness,  or 
volume  of  sound  ;  smoothness,  sweetness,  and  strength ; 
by  which  latter  property  is  meant  the  power  of  render- 
ing syllables  audible  through  an  extensive  space.  There 
are  other  modifications  of  the  quality  of  the  voice  which 
will  be  explained  hereafter. 

FORCE    OF    VOICE. 

The  degrees  of  Force  are  best  described  by  the  terms 
loud  and  soft,  forcible  and  feeble,  strong  and  weak. 
Force  maybe  manifested,  1st  by  loudness,  and  consequent 
violent  impression  on  the  ear,  during  a  short  impulse  of 
sound ;  or  2dly  it  may  be  continued  equally  through  a 
long  one :  or  3dly  it  may  be  manifested  by  gradual  in- 
crease, as  when  a  sound  increases  perceptibly  in  volume 
during  its  progress  as  compared  with  its  commencement, 
terminating  at  its  loudest  point,  or  again  diminishing  before 
it  terminates.  Suppose  the  element  a  (or  any  other  syl- 
lable) uttered  with  great  percussive  force  and  quickness, 
it  will  exhibit  one  modification  of  force.  Suppose  it  to 
begin  with  less  force,  growing  louder  by  degrees  in  the 
usual  sense  of  the  expression  swell  of  voice,  and  then 
again  gradually  diminishing  to  its  termination,  and  you 
have  another  modification  of  force.  Again,  suppose  the 
voice  to  begin  with  comparative  fullness  and  to  lessen 


56  GRAMMAR    OF    ELOCUTION. 

constantly  in  its  volume  till  it  dies  away  in  silence,  and  the 
ear  would  be  able  to  compare  degrees  of  force  under  a 
third  modification.  Lastly,  suppose  the  element  a  to  be 
uttered  in  the  usual  manner  except  at  its  termination,  but 
there  to  have  a  great  and  sudden  increase  of  sound,  and 
you  have  a  modification  of  the  element  of  force  different 
from  any  of  the  preceding  instances. 

TIME. 

The  varieties  of  Time  in  the  utterance  of  syllables  are 
best  expressed  by  the  terms  long  and  short,  quick,  slow, 
rapid,  moderate.     The  most  important  general  conside- 
ration as  to  the  time  of  syllables  is  that  it  can  be  varied 
upon  the  same  syllable.    The  term  quantity,  as  applicable 
to  syllables,  means  exactly  the  same  as  time.     The  time 
ot  pauses,  it  is  perfectly  apparent,  may  be  lengthened  or 
shortened  at  pleasure.     Suppose  the  sounds  a,  bee,  cee, 
dee,  (the  names  of  the  first  four  letters  of  the  alphabet,)  to 
be  uttered  in  immediate  succession,  each  sound  to  be 
shortened  as  much  as  possible  and  as  short  pauses  as  pos- 
sible to  be  made  between  each ;  in  such  case  each  syllable 
will  have  short  quantity,  the  pauses  will  have  short  time 
and  the  general  movement  will  be  in  quick  time.      But 
the  four  sounds  above  mentioned  can  be  greatly  length- 
ened without  altering  their  customary  pronunciation.     If 
a  lengthened  pronunciation  is  given  to  each,  and  the  pauses 
between  them  are  made  about  half  as  long  as  the  time  con- 
sumed in  the  pronunciation  of  each  syllable  (a,  bee,  cee, 
dee,)  the  whole  series  will  be  in  slow  time  and  each  sylla ;! 
ble  will  have  long  quantity.     The  term  quantity  is  em- 
ployed absolutely  and  relatively.     If  a  syllable  is  pro- 
nounced long,  we  may  say  with  propriety  it  has  quantity 


GENERAL    CONSIDERATIONS.  57 

absolutely :  but  we  speak  of  quantity  as  a  power  inherent 
in  the  voice  relative  to  syllables,  because  many  of  the  vowels 
and  consonants  can  (though  many  cannot)  be  pronounced 
long  or  short  as  may  be  desirable  :  and  the  terms  long  and 
short  quantity  describe  the  two  cases  of  such  syllables. 

We  say,  then  of  syllables  that  they  are  syllables  of 
Quantity  because  they  can  be  extended,  or  because  they 
are  actually  extended  in  their  pronunciation.  We  say  of 
a  passage  that  it  has  long  quantity,  meaning  that  the  syl- 
lables and  pauses  are  intentionally  lengthened  ;  that  it  has 
short  quantity  because  the  syllables  either  do  not  admit  of 
extension  or  are  not  extended.  The  pauses  in  all  good 
delivery  bear  a  proportion  to  the  length  of  syllables. 

High  on  a  throne  of  royal  name.* 
High  on  a  throne  of  royal  name. 

Let  the  superscribed  sentence  be  uttered  with  the  ex- 
tremes of  quick  and  slow  time  as  already  described  and 
the  nature  of  time  or  quantity  as  applicable  to  speech  wiD 
be  demonstrated. 

ABRUPTNESS. 

Abruptness  means  a  sudden  and  full  pronunciation  of 
sound.  In  utterance  it  is  best  demonstrated  in  the  ex- 
plosion of  the  vowels  in  the  manner  already  described  in 
the  Recitation  on  Articulation.  It  is  a  power  to  be  again 
treated  of  under  the  head  of  force,  being  a  particular 
modification  of  that  property  of  the  voice. 


*  The  word  name  has  been  employed  for  illustration  in  this  ex- 
ample, instead  of  state,  on  account  of  its  quantity — as  the  word 
state  is  necessarily  short. 


58  GRAMMAR    OF    ELOCUTION 


PITCH. 

Pitch  means  the  place  of  any  sound  in  the  musical  scale. 
A  person  wholly  unacquainted  with  pitch  may  obtain  clear 
ideas  of  this  property  of  sound  from  a  piano  forte.  In 
running  over  a  few  of  the  keys,  he  will  perceive  that  the 
sounds  they  yield  differ  from  each  other.  Now  this  dif- 
ference consists  in  pitch.  The  different  sounds  are  called 
notes.  If  a  person  strike  the  lowest  key  on  the  left  hand 
and  pass  from  that  to  the  other  end  touching  each  key 
successively,  he  will  observe  as  he  goes  on  that  each  note 
rises  in  pitch  until  he  reaches  the  most  distant  key  on 
the  right  hand  of  the  instrument.  If  an  ear  unaccus- 
tomed to  compare  varieties  of  pitch  does  not  at  once  per- 
ceive the  difference  of  the  pitch  of  two  notes  next  to  each 
other,  let  him  try  two  notes  with  one  between  them  ;  two 
notes  with  three  between  them ;  two  notes  with  six  be- 
tween them.  He  will  thus  obtain  an  impressive  notion 
of  the  nature  of  pitch  from  the  varieties  which  these  dis- 
tant notes  present  to  the  ear.  The  whole  of  the  notes  of 
a  piano  constitute  a  scale  referred  to  by  musicians. 

Pitch  and  inflection  have  been  used  as  synonymous  in 
their  application  to  speech.  Great  care,  however,  is  re- 
quired in  order  to  obtain  clear  ideas  of  Pitch. 

If  the  finger  be  slid  up  and  down  the  string  of  a  violin 
with  continued  pressure,  while  the  bow  is  drawn  across  it, 
a  mewing  sound  will  be  produced.  This  sound  will  end 
at  a  higher  or  lower  pitch  than  that  at  which  it  began,  ac- 
cording to  the  direction  of  the  movement  of  the  finger. 
The  sound  produced  is  named  in  the  science  of  speech  a 
concrete  or  continuous  sound,  inasmuch  as  the  change  of 


GENERAL    CONSIDERATIONS.  59 

pitch  is  without  break,  or  takes  place  during  a  single  im- 
pulse of  sound. 

The  term  Concrete,  etymologically  considered,  means 
grown  together.  It  is  derived  from  the  verb  concresco, 
concrescere,  concrevi,  concretum,  "  To  unite  or  coalesce 
as  separate  particles  into  one  body."  ( Webster.)  The 
term  concrete  is  intended  to  particularize  the  nature  of 
the  sound  produced  by  the  sliding  motion  of  the  finger  on 
the  string.  That  sound,  as  it  differs  in  pitch  at  its  two 
extremities,  must  of  course  be  made  up  of  distinct  impul- 
ses differing  in  pitch ;  but  as  each  is  too  short  in  its  dura- 
tion to  be  discerned  by  the  ear,  they  may  be  said  to  be 
concreted  together  into  one  unbroken  movement,  which  is 
properly  enough  named  a  slide.  This  slide  when  heard 
is  perceived  to  rise  or  fall  in  pitch  only  as  a  whole,  and  is 
therefore  called  a  concrete  sound.  Such  a  slide,  rising 
or  falling  in  pitch,  is  invariably  made  whenever  a  syllable 
is  spoken,  or  in  other  words  is  inseparable  from  the  act  of 
speech.  It  is  usually  called  the  slide  of  the  voice,  and  is 
more  particularly  designated  by  writers  on  Elocution  the 
upward  and  downward  slide. 

If  while  the  bow  is  drawn  across  it,  the  string  be  press- 
ed on  the  board,  say  at  every  second  of  time,  at  certain 
points  or  places,  rising  one  above  another,  determined  by 
a  previous  known  rule  of  mathematical  calculation,  the 
sounds  of  the  common  scale  will  be  produced.  The 
sounds  thus  produced  may  be  called  Discrete  sounds. 

The  term  Discrete  is  derived  from  dis  and  cerno,  to 
see  apart,  or  to  distinguish,  to  apprehend  a  difference  in 
things.  Discerno,  discernere,  decrevi,  decretum.  The 
term  discrete  is  therefore  employed  to  denote  two  or  more 
separate  sounds.  The  sounds  of  a  piano  forte,  for  in- 


CO  GRAMMAR    OF    ELOCUTION. 

stance,  will  consist  of  discrete  sounds.  A  succession  of 
syllables,  consisting  of  separate  impulses,  are  a  succession 
of  discrete  sounds,  commencing  at  the  same  or  different 
points  of  pitch  from  each  other ;  while  the  slides  heard  in 
the  utterance  of  each  syllable  will  consist  of  concrete 
sounds.  Discrete  and  Concrete  sound  is  therefore  heard 
in  all  discourse,  and  both  are  inseparable  from  it. 

Discrete  sounds  consist  of  a  series  of  skips.  These 
are  made  by  omitting  the  concrete  or  sliding  movement 
previously  described,  produced  by  the  motion  of  the  finger. 

TTSTTTSTTSTTT        S 
•>§§••••• 


1  234  56  789  1011  12  13  1415 
The  horizontal  line  drawn  above  represents  the  strings 
of  the  violin,  the  black  dots  the  points,  places,  or  degrees 
at  which  it  is  to  be  pressed  to  produce  certain  sounds. 
From  1  to  7  constitutes  the  series  of  sounds  called  the 
scale,  each  rising  above  the  other.  To  this  series  of 
seven  sounds  a  second  series  may  be  added  of  the  same 
number,  beginning  immediately  above  the  first;  each 
sound  in  such  second  series  bearing  the  same  relation  in 
pitch  to  every  other  sound  in  that  series,  which  the  cor- 
responding sound  bears  to  every  other  in  the  first  series. 
The  letters  put  between  the  supposed  places  of  sound 
represent  the  terms  Tone  and  Semitone.  Tone  means 
a  certain  distance  (mathematically  determined)  between 
the  sounds ; — Semitone  means  about  half  that  distance. 
Musical  instruments  in  general,  such  as  the  piano  forte, 
organ  and  others,  produce  only  discrete  sounds,  or  such  a 
succession  of  sounds  as  is  here  represented.  The  vio- 
lin and  other  stringed  instruments  can  produce  both  con- 


GENERAL    CONSIDERATIONS.  61 

crete  and  discrete  sounds.    The  human  voice  produces 
both. 

Each  sound  of  the  scale  is  called  a  note.     The  dis- 
tance between  any  two  notes,  whether  next  to  each  other, 
or  more  distant,  is  called  an  interval.     The  interval  from 
1  to  2  is  called  a  tone,  from  2  to  3  a  tone,  from  3  to  4 
(being  about  half  the  distance)  a  semitone,  from  4  to  5, 
from  5  to  6,  and  from  6  to  7  are  tones,  from  7  to  8  a  semi- 
tone.    The  intervals  are  named  numerically,  that  is,  the 
interval  from  1  to  2  is  called  a  second,  from  1  to  3  a 
third,  from  1  to  4  a  fourth,  from  1  to  5  a  fifth,  from  1  to 
6  a  sixth,  from  1  to  7  a  seventh,  from  1  to  8  an  octave. 
The  intervals  rise  from  1  to  2,  1  to  3,  1  to  4  and  so  on, 
and  fall  in  the.  same  reverse  order.     Though  the  first  i 
seven  sounds  make  up  what  is  called  the  scale,  the  ear 
requires  in  order  to  form  a  satisfactory  close,  that  the  first 
of  the  second  series,  marked  8  and  called  the  octave,  (as 
before  stated,)  should  be  added,  in  running  the  voice  up- 
wards or  downwards,  in  the  order  of  the  scale,  or  in  what 
is  called  in  musical  science  solfaing.     The  first  note  of 
any  series  of  sounds  is  called  the  key  note.     The  succes- 
sion of  the  seven  notes  above  described  is  called  the  natu- 
ral scale,  because  that  succession  is  satisfactory  to  the  J 
ear.     It  is  also  called  the  Diatonic  scale  from  Dia  by  or 
through,  and  Tonos  a  sound.     The  term  melody  (as  ap- 
plicable to  speech)  in  this  Grammar,  means  the  condition 
of  single  sounds  and  the  order  of  successive  sounds  as 
respects  the  pitch.     Concrete  melody  means  the  pitch  of 
the  slides  of  speech.     Discrete  melody  the  pitch  at  which 
successive  syllables  begin  relatively  to  each  other.     Into- 
nation means  the  management  of  the  voice  in  the  produc- 
tion of  pitch  both  concrete  and  discrete. 


02  GRAMMAR    OF    ELOCUTION. 

QUESTIONS. 

1 .  How  is  Elocution  defined  ? 

2.  What  is  meant  by  quality  of  voiee  ? 

3.  What  are  the  most  important  properties  of  the  voice 
with  regard  to  quality? 

4.  What  is  meant  by  force  of  voice? 

5.  How  are  degrees  offeree  expressed? 

6.  What  is  meant  by  the  time  of  the  voice  ? 

7.  How  are  the  varieties  of  time  expressed  ? 

8.  What  is  the  meaning  of  quantity  as  applied  to  the 
voice  ? 

9.  Give  an  example  of  long  quantity. 

10.  Give  an  example  of  short  quantity. 

11.  What  is  the  meaning  of  abruptness  as  applicable 
to  the  voice  ? 

12.  How  is  pitch  defined  ? 

13.  What  is  meant  by  the  musical  scale? 

14.  What  are  the  particular  modifications  of  pitch  in 
speech  ? 

1 5.  How  are  the  degrees  of  pitch  measured  ? 

16.  How  are  the  sounds  of  the  scale  produced? 

17.  What  is  a  note? 

18.  What  is  the  meaning  of  interval  ? 

19.  What  is  the  meaning  of  a  tone? 

20.  What  is  a -semitone? 

21.  What  are  the  different  intervals  of  the  scale  called  ? 

22.  What  is  the  key  note  ? 

23.  What  is  the  meaning  of  the  term  melody  ? 

24.  What  is  concrete  melody? 

25.  What  is  discrete  melody  ? 

26.  What  is  meant  by  Intonation  ? 


RADICAL    AND    VANISH    OF    SPEECH.  G3 


RECITATION  FIFTH. 

Of  the,  Elements  of  Sound  which  enter  into  the  concrete 
slide  of  the  voice,  when  it  is  so  managed  as  to  give  the 
greatest  possible  pleasure  to  the  ear. 

WE  shall  employ  the  letter  /  for  the  purpose  of  illustra- 
ting the  slide  of  the  voice.  That  element  (as  before 
stated)  is  a  dipthong;  being  compounded  of  the  opening 
sound  of  the  element,  and  the  obscure  one  of  ee  as  heard 
at  the  beginning  of  the  word  E-ve,  upon  which  latter 
sound  it  dies  away  into  silence.  If  /  be  properly  uttered 
alone  in  a  deliberate  but  natural  manner,  as  it  would  be 
in  the  sentence  "  /  acknowledge  him  as  my  friend"  it  will 
open  with  some  degree  of  abrupt  fullness,  will  gradually 
lessen  in  volume  as  it  proceeds,  will  terminate  in  a  deli- 
cate vanish  and  will  rise  in  pitch  a  tone  or  second  during 
its  slide.  The  circumstances  to  be  displayed  in  this  pro- 
cess and  worthy  of  notice  as  elements  of  sound  are,  the 
force  and  fullness  of  the  opening — the  equable  lessening 
of  volume,  the  gradual  change  of  sound  from  the  opening 
pan  of  the  element  into  the  obscure  sound  of  ee — the  ex- 
tended quantity — the  final  termination  of  the  progressively 
diminishing  sound  in  a  fine  vanish  upon  the  ee — together 
with  the  rise  in  pitch  through  the  interval  of  a  tone. 

The  circumstances  to  which  exclusive  attention  is  next 
to  be  directed,  are,  the  opening  fullness,  the  gradually  di- 
minishing volume,  and  the  final  vanish.  The  contrast  of 
the  two  extremeties  of  the  element,  as  to  force  or  volume 
of  voice,  induced  Dr.  Rush,  the  ingenious  discoverer  of 
these  circumstances,  to  give  the  name  of  radical,  to  the  first 
part  of  the  element,  and  vanishing  movement  to  the  second, 


64  GRAMMAR    OF    ELOCUTION. 

— and  he  calls  the  whole  movement  which  has  been  de- 
scribed a  radical  and  vanishing  tone.  The  terms  need 
never  confuse  the  mind;  the  radical, means  the  beginning 
of  a  syllable,  while  the  vanish  is  employed  to  express  its 
termination.  This  gradually  lessening  volume  of  sound 
upon  syllables  and  exquisite  vanish  with  which  they  ter- 
minate, contrasted  with  their  opening  fullness,  are  circum- 
stances which  show  the  superiority  of  the  human  voice 
over  all  instruments.  The  full  manifestation  of  the  radi- 
cal and  vanish  in  the  management  of  the  slides  of  long 
quantity,  or  in  other  words,  in  the  utterance  of  long  sylla- 
bles, in  speaking,  reading,  and  recitation,  is  in  the  highest 
degree  captivating  to  the  ear  and  is  what  gives  smoothness 
and  delicacy  to  the  tones  of  the  voice.  In  short  sylla- 
bles,the  difference  of  the  radical  and  vanish  is  perceptible 
though  not  so  obvious. 

If  the  voice  is  destitute  of  the  vanishing  property  it  will 
sound  coarse,  harsh  and  heavy.  On  this  account  much 
practice  ought  to  be  insisted  upon  in  order  to  acquire 
these  agreeable  elements  of  die  slide  of  speech. 

We  therefore  subjoin  a  table  containing  a  certain  num- 
ber of  alphabetic  sounds,  upon  which  it  is  important  to 
exercise  the  voice  with  persevering  assiduity.  Under  the 
head  of  quantity  we  shall  subjoin  a  table  of  words,  but  the 
function  described  should  be  practised  in  the  first  place 
on  alphabetic  sounds. 

The  long  vowels  shew  the  properties  of  the  voice  just 
described,  in  the  best  manner.  Their  opening  can  be 
rendered  abrupt  and  full,  their  quantity  can  be  extended ; 
they  display  the  lessening  volume  of  the  voice,  its  final 
vanish,  and  change  of  pitch  during  its  sli.de  more  obviously 
than  any  other  elements. 


RADICAL    AND    VANISH    OF    SPEECH. 

Let  the  elements  in  the  following  table  be  sounded  as 
often  as  is  necessary  to  acquire  a  full  command  over  the 
use  of  the  voice  above  described. 


TABLE. 

1 

a 

as  in 

a-we. 

2 

a 

a-rm. 

3 

a 

a-ge. 

4 

i 

i-sle. 

5 

0 

o-ld. 

6 

ou 

OM-r. 

7 

00 

oo-ze. 

8 

ee 

ee-1. 

9 

oi 

b-oi/. 

The  subjoined  diagram  may  furnish  a  more  obvious 
view  of  ihe  process. 

A,  the  opening  fullness, 

B,  progressing  quantity 
with  diminishing  vol- 
ume. 

C,  vanishing  point. 

The  following  consonants  will  display  the  property  of 
the  voice  we  have  described,  though  not  so  perfectly  as 
the  vowels. 


1 

b 

6 

m 

9 

d 

7 

n 

3 

g 

8 

r  final 

4 
5 

ng 

9 
10 

v 
z 

This  subject  will  be  resumed  as  respects  syllables  un- 
der the  head  of  quantity. 

6* 


66  GRAMMAR  OF    ELOCUTION. 

OF  THE  SLIDES  OF  SPEECH. 

We  stated  that  the  letter  /  if  sounded  in  a  natural 
manner  in  the  sentence,  "  /  acknowledge  him  as  my 
friend,"  rises  a  tone  or  second  during  its  pronunciation. 
This  may  be  proved  by  the  use  of  the  musical  scale,  thus. 
Let  the  letter  be  sounded  with  extended  quantity,  and 
let  force  be  applied  at  its  extremity  so  as  to  make  the 
sound  of  the  ee,  (otherwise  obscure,)  very  conspicuous, 
maintaining  in  all  other  respects  the  pronunciation  the 
element  had  in  the  above  mentioned  sentence.  If  its 
two  extremes  be  now  compared,  it  will  be  seen  that  the 
end  is  a  second  higher  than  the  beginning  of  the  sound. 
The  existence  of  a  rising  third,*  fifth,  and  octave,  and 
of  the  same  falling  concrete  intervals,  may  be  demon- 
strated in  a  similar  manner  upon  the  element  /. 

The  following  is  a  scale  shewing  the  intervals  of  the 
different  slides. 


• 


-•<-• 


*  Though  the  sounds  of  the  natural  or  diatonic  scale  are  dis- 
crete and  are  produced  by  omitting  the  mewing  sound  formerly 
described  as  issuing  from  the  string  of  the  violin,  yet  the  term 
concrete  interval  may  be  properly  enough  employed  to  mark  the 
distance  between  the  commencement  and  the  termination  of  the 
slides  of  speech  when  they  strike  those  points  of  the  scale  at  which 
the  discrete  sounds  are  heard :  and  a  concrete  movement,  with  a  full 
r  ecollection  of  its  nature  may  be  hereafter  denominated  a  concrete 
interval  of  a  second,  third,  fifth,  and  octave,  or  a  semitone :  and 
the  slides  through  these  intervals  may  be  called  notes  of  speech. 


EI.ING.LIOE. 


Let  the  lines  in  this  scale,  and  the  spaces  between  them  .  • 
be  the  places  occupied  by  the  notes.  When  measuring 
the  intervals  of  these  notes  let  these  lines  and  spaces  be 
counted  in  succession,  thus,  line  1  space  2,  line  3  space 
4,  and  so  on,  whether  we  are  counting  upwards  or  down- 
wards. The  first  figure  of  the  scale  commencing  on 
line  1,  and  reaching  into  space  2,  represents  a  rising  slide 
of  a  second,  —  the  second  figure  a  rising  third,  —  the 
third  a  rising  fifth,  —  the  fourth  a  rising  octave.  The 
remaining  figures  represent  in  the  order  in  which  they 
appear  on  the  scale  a  falling  second,  third,  fifth  and  oc- 
tave. The  intervals  here  enumerated  are  the  only  ones 
(with  the  exception  of  the  semitones,)  requiring  atten- 
tion in  the  science  of  speech  ;  the  slides  of  a  fourth, 
sixth,  and  seventh,  will  therefore  not  be  regarded  in  this 
grammar. 

The  slide  of  a  second  upwards  and  downwards  may 
be  called  the  simplest  slide  of  speech,  while  the  others 
increase  in  intensity  in  proportion  to  the  extent  of  the 
interval. 

Popular  methods  of  determining  the  pitch  of  the  slides 
of  the  voice,  by  the  meaning  or  expression  they  convey. 

1.    RISING  SLIDE. 

It  is  not  absolutely  necessary  to  be  acquainted  with 
music  in  order  to  determine  the  nature  of  the  slides 
used  in  speech  or  to  be  able  to  apply  them  correctly  in 
discourse.  Let  the  following  sentence  be  uttered  in  a 
very  deliberate  manner,  and  with  a  perfectly  distinct 
enunciation.  "  As  soon  as  /  arrived,  he  conducted  me 
to  his  house."  Let  particular  attention  be  given  to  the 


68  GRAMMAR    OF    ELOCUTION. 

sound  of  the  l  P.  Then  let  that  part  of  the  sentence 
ending  with  1 11  and  including  it,  be  uttered  without  the 
remaining  portion,  the  voice  breaking  off  after  uttering 
that  word,  with  the  intonation  a  person  would  naturally 
employ,  who  was  going  to  speak  the  whole  sentence,  but 
who  was  suddenly  interrupted  at  the  moment  he  had  com- 
pleted the  described  section,  "  As  soon  as  I :" — the  '  /' 
will  in  this  case  be  found  to  have  the  rising  slide  of  a 
second.  Let  the  *  /'  be  next  pronounced  alone  with  the 
same  slide  it  had  in  the  superscribed  section  of  the  sen- 
tence ;  and  the  rising  second  cannot  be  mistaken  after- 
wards. It  is  to  be  noticed  that  the  intonation  is  such  as 
to  leave  the  ear  in  a  state  of  suspense,  and,  (though  the 
voice  actually  ceases,)  to  apprise  the  mind  that  all  has  not 
been  said  that  was  to  be  expected.  Let  it  be  farther 
remarked,  that  the  '  P  conveys  no  expression  of  empha- 
sis, of  emotion,  or  of  interrogation,  nothing  more  than  the 
simple  notion  inseparable  from  the  sound. 

More  intensive  slide  of  a  third.  Let  the  following 
sentence  next  be  uttered  as  it  would  naturally  be  if  the 
answer  yes  or  no  were  expected  to  it ;  all  earnestness  or 
emotion  being  excluded.  "  Did  he  say  it  was  /  that  did 
it  ?"  If  the  question  be  so  spoken  as  to  convey  merely 
the  idea  of  simple  enquiry,  such  as  would  require  the 
answer  "  yes  or  no"  or  "he  said  it  was  you,"  the  *  /'  will 
have  the  rising  slide  of  a  third. 

Intense  slide  of  a  fifth.  But  if  the  question  be  asked 
with  some  surprise,  and  with  strong  emphasis  on  the  '/' 
that  syllable  will  have  the  rising  slide  of  a  fifth.  "  Did 
he  say  it  was  1  ?" 


FALLING    SLIDE  69 

More  intense  slide  of  an  octave.  Let  the  emphasis  be 
rendered  still  stronger  upon  the  '  /,'  and  let  the  interro- 
gation be  rendered  still  more  piercing  and  expressive  of 
excessive  surprise,  and  the  slide  will  reach  through  the 
rising  octave.  Children  and  females  whose  emotions  are 
particularly  lively,  frequently  ask  a  question  with  the  in- 
tense piercing  slide  of  the  octave. 

2.    FALLING    SLIDE. 

Simple  falling  slide.  If  the  imaginary  sentence, 
"  Good  evening  Mr.  I."  be  uttered  with  the  natural  fall 
which  the  voice  always  assumes  at  the  end  of  a  common 
sentence,  and  without  the  least  emphasis  on  the  '  I '  con- 
veying an  expression  of  antithesis,  that  word  will  display 
the  falling  slide  of  a  second. 

If  the  sentence  '  He  said  it  was  /'  be  uttered  with  just 
such  a  degree  of  emphasis  as  will  place  the  * /'  in  antith- 
esis with  you  (understood,)  it  will  exhibit  the  falling  slide 
of  a  third. 

Intense  downward  slide  upon  the  '  /.'  Let  the  empha- 
sis be  made  so  strong  as  to  express  a  considerable  de- 
gree of  positiveness  upon  that  word,  and  the  slide  will  fall 
through  a  concrete  fifth. 

He  said  it  was  '/'  [not  you.~\ 

Most  intense  downward  slide.  Let  the  highest  de- 
gree of  dictatorial  positiveness  and  energy  be  now  given 
to  the  '  P  and  it  may  be  made  to  reach  the  downward 
octave  during  its  pronunciation. 

If  a  syllable  be  uttered  with  a  plaintive  expression  it 
will  have  the  slide  of  the  semitone.  In  solfaing  on  the 


70  GRAMMAR    OF    ELOCUTION. 

common  scale,  a  plaintive  expression  is  constantly  heard 
when  the  third  and  fourth,  or  seventh  and  eighth  notes 
are  sounded  in  immediate  succession ;  and  if  the 
voice  slide  through  the  concrete  interval  of  a  semitone 
it  will  have  a  plaintive  expression,  whether  it  ascends  or 
descends.  The  converse  is  true,  or,  in  other  words, 
whenever  a  plaintive  expression  is  heard  in  speech  the 
voice  moves  through  the  slide  of  a  semitone. 

Let  a  plaintive  or  mournful  expression  be  given  to  the 
word  /,  but  to  no  other,  in  the  following  sentence,  and 
that  word  will  exhibit  die  rising  slide  of  a  semitone,  the 
contrast  of  which  with  the  slides  of  a  tone,  upon  each  of 
the  other  syllables,  will  be  very  striking. 

"  /  will  be  a  good  boy." 

Let  the  word  "  boy"  be  rendered  plaintive  or  mournful 
with  a  fall  of  the  voice,  and  it  will  show  the  falling  slide  of 
the  semitone. 


CIRCUMFLEX  SLIDES  OR  WAVES  OF  THE 
VOICE. 

THE  voice  may  rise  and  fall  in  its  slide  upon  the  same 
syllable.  This  rise  and  fall  is  called  a  Wave.  If  there 
are  only  two  parts  to  the  wave,  that  is,  if  the  voice  rises 
and  falls  only  once  in  its  slide,  such  rise  and  fall  are  called 
a  single  wave.  If  there  are  three  parts  and  not  more, 
that  is,  if  the  voice  rises  and  falls  and  rises  again,  or  falls 
and  rises  and  falls  again  upon  the  same  syllable  the  slide  is 
called  a  double  Wave.  If  there  are  more  parts  than  three, 
the  wave  is  called  a  continued  Wave. 

If  the  rise  and  fall  of  the  voice  on  a  wave  are  through 


CIRCUMFLEX    SLIDES.  71 

the  same  interval,  it  is  called  an  equal  wave.  If  it  rises 
first  and  then  falls  it  is  called  a  direct  equal  wave.  If  it  falls 
first  and  then  rises,  an  inverted  equal  wave.  If  the  inter- 
val of  the  rise  and  fall  of  the  voice  upon  a  wave  is  not 
the  same,  it  is  called  an  unequal  wave.  If  it  rises  first 
and  then  falls,  a  direct  unequal  wave  :  if  it  falls  first  and 
then  rises,  an  inverted  unequal  wave. — See  Philosophy  of 
the  Human  Voice. 

EXAMPLES. 

"Hail!  holy  Light." 

If  the  word  "  hail"  is  uttered  with  long  quantity  with  a 
perceptible  downward  ending,  and  without  any  emphasis 
except  that  which  arises  from  its  prolongation,  it  will  show 
the  direct  equal  wave  of  the  second. 

"  High  on  a  throne  of  royal  state." 

If  this  sentence  is  uttered  with  extended  quantity  it 
will  show  the  inverted  equal  wave  of  the  second  on  the 
syllables  "  high,"  "  throne,"  "  roy." 

"  I  said  he  was  my  friend." 

If  this  sentence  is  deliberately  uttered,  with  very  long 
quantity  upon  the  "  my"  and  an  exclusive  emphasis  imply- 
ing that  the  person  spoken  of  was  not  your  friend — that 
word  will  show  the  direct  equal  wave  of  a  third. 

If  the  answer  is  "  your  friend"  and  the  word  "  your" 
is  uttered  with  very  long  quantity,  with  a  slight  degree  of 
surprise  and  an  interrogatory  emphasis,  it  will  show  the 
inverted  equal  wave  of  the  third. 

If  the  sentence  is  reiterated  "  I  said  he  was  my  friend," 
with  a  strongly  positive  emphasis  on  the  "my,"  together 
with  very  long  quantity,  the  direct  equal  wave  of  the  fifth 
will  be  heard. 


72  GRAMMAR    OF    ELOCUTION. 

By  increasing  the  emphasis  of  surprise  and  making  the 
interrogation  more  piercing,  together  with  extended  quan- 
tity upon  the  word  "your"  in  the  sentence,  "your  friend," 
accompanied  with  the  former  example,  the  inverted  wave 
of  the  fifth  will  be  heard. 

"  I  said  he  was  my  friend."  If  the  word  "  my"  is  ut- 
tered with  a  strongly  taunting  and  at  the  same  time  posi- 
tive expression,  that  word  will  show  the  unequal  direct 
wave. 

If  the  word  "  your,"  in  the  sentence  "your  friend,"  is 
coloured  strongly  with  scorn  and  interrogation,  it  may  be 
made  to  show  the  inverted  unequal  wave. 

Practical  Remark. — The  degree  of  scorn  will  be  in- 
creased by  adding  force  to  the  wave ;  and  will  bear  a  pro- 
portion to  the  extent  and  inequality  of  the  slides  which 
constitute  it. 

The  wave  of  the  semitone  remains  to  be  mentioned. 
If  suspensive  quantity  together  with  a  plaintive  expression 
is  put  upon  the  words  "  poor"  and  "old" — of  the  following 
sentence  they  will  display  the  direct  wave  of  the  semi- 
tone. 

"  Pity  the  sorrows  of  a  poor  old  man." 

The  word  "  man"  may  be  made  to  display  the  inverted 
wave  of  the  semitone  by  making  it  plaintive,  with  long 
quantity,  and  causing  the  voice  to  fall  upon  the  second 
part  of  the  wave. 


ELEMENTARY  EXERCISES  ON  THE  SLIDES 
OF  THE  VOICE. 

As  a  command  over  these  elements  of  the  voice  is  of 
the  utmost  consequence,  and  as  the  power  of  making  the 


CIRCUMFLEX    SLIDES. 


73 


deeper  downward  slides  at  will,  is  possessed  by  few  per- 
sons, we  subjoin  a  table  of  alphabetic  sounds  for  exercise, 
and  we  recommend  diligent  practice  upon  them. 

Let  the  rising  and  falling  slides  of  a  second,  third,  fifth 
and  octave  be  each  in  their  turn  shown  upon  the  following 
elements  :  also  the  direct  and  inverted  equal  and  unequal 
waves  described  above. 


1 

2 
3 
4 
5 
6 
7 
8 
9 
10 


a 
a 
a 
o 

ou 
ee 
oo 
oi 

ew 


as  in 


TABLE. 

fl-11. 

11 

b 

a-ge. 

12 

d 

a-rm. 

13 

g 

o-ld. 

14 

OU-T. 

15 

m 

ee-L 

16 

n 

oo-ze. 

17 

ns 

b-oy. 

18 

r 

i-sle. 

19 

v 

b-ecm-ty. 

20 

z 

I  conclude  this  display  of  the  slides  of  speech  by  re- 
commending a  diligent  practice  upon  the  elementary  ta- 
ble. These  slides  give  conspicuous  expression  to  sylla- 
bles. The  downward  slide  is  (as  will  be  seen  hereafter) 
one  of  the  most  striking  means  of  emphasising  words,  of 
expressing  positiveness  of  conviction,  indignant  resolution, 
and  other  affections  of  the  mind,  which  cannot  be  con- 
veyed by  mere  writing,  and  of  which  the  voice  alone 
holds  the  true  symbols.  A  discriminating  perception  of 
the  difference  of  these  respective  elements  of  the  voice, 
and  a  full  command  over  them  will  be  best  attained  by 
the  tabular  exercises  here  enjoined.  They  should  be 
frequently  repeated,  and  not  abandoned  until  the  objects 
for  which  they  are  instituted  are  accomplished. 


74  GRAMMAR    OF    ELOCUTION. 

QUESTIONS    TO    RECITATION    FIFTH. 

1.  What  are  the  circumstances  worthy  of  attention  in 
the  consideration  of  the  slide  of  speech  ? 

2.  What  is  meant  by  the  radical  and  vanishing  move- 
ment ? 

3.  Let  it  be    demonstrated  in  sounding   the   alpha 
betic  elements  contained  in  page  65. 

4.  A  demonstration  is  required  I.  of  a  rising  slide  of  a 
second ;  II.  of  a  third;  III.  of  a  fifth  ;  IV.  of  an  octave  ; 
V.  of  the   falling  slide   of  a  second ;    VI.  of  a  third  ; 
VII.  of  a  fifth ;  Vffl.  of  an  octave. 

5.  The  student  is  required  to  draw  on  a  black  board, 
and  explain,  a  diagram,  shewing  these  slides. 

6.  The  student  is  required  to  give  an  instance  of  the 
rising  slide  of  a  semitone, — of  a  falling  slide  of  the  same. 

7.  How  is  a  rising  second  popularly  distinguished  from 
a  rising  third  ? 

6.  How  is  a  third  distinguished  from  a  fifth  ? 

9.  How  is  a  fifth  distinguished  from  an  octave  ? 

10.  How  is  a  falling  second  known  ? 

1 1.  How  is  a  falling  third  distinguished  ? 

12.  How  is  a  falling  fifth  known  ? 

13.  How  is  a  falling  octave  known  ? 

14.  The  student  is  required  to  give  an  instance  I.  of 
the  direct  equal  wave  of  the  second ;  II.  of  a  third ;  III. 
of  a  fifth ;  IV.  of  an  inverted  equal  wave  of  a  second  ; 
V.  of  a  third ;  VI.  of  a  fifth ;  VII.  of  a  direct  unequal 
wave ;  VTQ.  of  an  inverted  unequal  wave ;   IX.  of  a 
wave  of  the  semitone. 

15.  The  student  is  required  to  demonstrate  these  va- 
ried intervals  on  the  superscribed  table — alone,  or  in 
class. 


RECITATION  SIXTH. 


RADICAL  PITCH. 

WE  have  now  given  an  account  of  the  slides  of  speech, 
and  have  shown  the  method  of  determining  the  pitch  of 
any  slide,  or  in  other  words  the  distance  in  point  of  pitch 
from  its  commencement  to  its  termination  ;  and  we  have 
seen  that  the  expression  conveyed  is  invariably  effected 
by  the  extent  of  the  slide.  The  student  now  perceives 
that  the  change  of  pitch  in  the  slide,  is  strictly  concrete 
and  takes  place  during  a  single  impulse. 

We  are  now  to  speak  of  pitch  and  its  varieties  as  deri- 
ved from  a  comparison  of  different  impulses.  Now  in 
comparing  the  pitch  of  different  syllables  with  each  other, 
the  comparison  is  of  a  series  of  successive  impulses,  and 
in  estimating  their  relative  pitch,  we  must  disregard  their 
slides  and  compare  them  with  each  other  exclusively,  at 
their  commencing  points.  We  thus  ascertain  the  discrete 
pitch  of  syllables  with  reference  to  each  other.  The  be- 
ginning of  a  syllable  always  makes  a  greater  impression 
on  the  ear,  than  the  part  of  the  slide  which  follows.  This 
is  best  proved  by  sounding  one  of  the  long  vowels. 

If  a,  i,  or  o,  be  opened  with  fullness  and  distinctness, 
and  be  uttered  with  smoothness  and  extended  quantity,  it 
will  be  perceived  that  the  volume  of  the  voice  lessens, 
(as  we  have  before  observed)  during  the  slide,  and  that 
it  ends  in  a  delicate  vanish  at  the  termination  of  the  syl- 
lable where  sound  and  silence  may  be  said  to  meet.  This 
lessening  volume  of  sound  takes  place  in  the  utterance 


76  GRAMMAR    OF    ELOCUTION. 

of  short  syllables,  but  owing  to  their  shortness  it  is  not  as 
perceptible.  This  difference  of  the  opening  and  termin- 
ation of  syllables  it  was,  which  induced  Dr.  Rush  to  call 
the  one  the  radical  and  the  other  the  vanishing  part  of  the 
syllable,  and  in  our  future  remarks  when  we  refer  to  the 
pitch  at  which  syllables  BEGIN  as  compared  with  other 
syllables,  we  shall  employ  the  term  RADICAL  pitch  to 
distinguish  it  from  the  pitch  of  their  respective  slides  or 
concrete  pitch.  In  considering  the  combinations  of  Me- 
lody arising  from  the  difference  in  the  radical  pitch  of 
syllables,  we  shall  consider  each  syllable,  in  the  examples, 
as  having  the  rising  slide  of  a  tone,  except  when  other- 
wise specified. 

Particular  combinations  of  Melody  arising  from  special 
differences  in  the  radical  pitch  of  syllables. 

When  in  a  succession  of  two  syllables,  the  beginning 
of  the  second  rises  a  single  tone  above  the  beginning  of 
the  first,  the  combination  is  called  a  rising  ditone,  be- 
cause it  includes  two  syllables,  the  second  rising  a  tone 
above  the  first, 

A  rising  ditone  may  be  exemplified  upon  the  sounds  ^  °. 

When  in  a  succession  of  two  syllables,  the  beginning 
of  the  second  falls  a  tone  below  the  beginning  of  the  first, 
the  combination  is  called  a  falling  ditone — because  there 
are  two  syllables  of  which  the  second  falls  below  the  first. 

This  may  be  exemplified  upon  the  sounds  *  0. 

A  succession  of  three  syllables  in  which  the  second 
begins  a  tone  above  the  first,  and  the  third  a  tone  above 
the  second  is  called  a  rising  tritone  ;  because  three  sylla- 
bles are  included  in  the  combination  rising  in  the  order 
described. 


RADICAL    PITCH.  77 

Arising  tritone  maybe  exemplified  upon  the  sounds  a  i  °. 

When  four  or  more  syllables  follow  each  other  of  which 
the  couplets  rise  and  fall  a  tone  alternately,  the  combina- 
tion is  called  the  alternate  phrase  of  melody.  The  fol- 
lowing sounds,  and  their  arrangement,  will  exemplify  the 

alternate  phrase.    aci° 

When  two  syllables,  or  any  greater  number  follow  each 
other,  beginning  at  the  same  pitch,  the  combination  is 
called  the  phrase  of  the  monotone.  The  following  sounds 
may  be  employed  to  exhibit  the  monotone.  «,  e,  t,  o. 

When  three  syllables  follow  each  other  of  which  the  se- 
cond begins  atone  below  the  first  and  the  third  a  tone  below 
the  second,  the  third  having  a  downward  slide  of  a  tone, 
the  combination  makes  the  triad  of  the  cadence.  A 
cadence  produces  the  same  satisfactory  effect  upon  the 
ear,  at  the  close  of  a  sentence,  which  the  key  note  does 
at  the  end  of  a  tune.  The  combination  above  described, 
is  called  a  triad  because  it  is  effected  by  three  syllables, 
and  a  cadence  because  it  possesses  the  properties  of  a  per- 
fect close. 

A  cadence  may  be  exemplified  upon  the  following 
sounds.  a 

i 

b 

All  the  combinations  above  described,  occur  in  the 
following  seatence.  They  are  called  phrases  of  melody. 

But  from  the  tomb  the    voice     of  na  -  ture  cries. 


78  GRAMMAR    OF    ELOCUTION. 

And  in    our    ash  -  es   live  their  wont  -  ed  fires. 


RISING  TRITONE.  FALL.  DITONE.  TRIAD  OF  THE  CADENCE. 

In  addition  to  the  above  described  discrete  intervals 
of  speech,  successive  syllables  differ  from  each  other  at 
their  commencing  points  in  the  following  respects,  as 

Discrete  rising  thirds,  fifths,  and  octaves. 

Discrete  falling  thirds,  fifths,  and  octaves. 

We  need  not  consider  other  intervals  in  the  science  of 
speech. 

SIMPLE    MELODY    OF    SPEECH. 

Some  portions  of  discourse,  consist  of  plain  thought. 
Things  are  described  as  they  are  in  themselves,  not  as 
related  to  us  as  beings  susceptible  of  emotion.  In  those 
parts  which  are  restricted  to  such  description,  and  in 
which  no  word  has  emphatic  import  above  another,  the 
melody  of  the  second,  as  respects  both  slide  and  radical 
pitch,  is  alone  required.  In  other  words,  every  syllable 
should  be  restricted  in  its  slide  to  the  interval  of  a  tone, 
and  no  two  successive  syllables  should  differ,  in  radical 
pitch,  more  than  a  tone  from  each  other.  If  other  inter- 
vals are  introduced,  the  syllables  on  which  they  occur, 
acquire  a  prominence  and  peculiarity,  which  break  up 
the  order,  and  disturb  the  natural  expression  of  the  sim- 
plest form  of  discourse.  There  must,  therefore,  always 
be  a  definite  and  assignable  reason,  in  the  nature  of  the 
ideas,  to  justify  a  departure  from  the  simple  melody  of 
speech. 


"/*v*> 

IUHIVERSIT 

SIMPLE    MELODY    OF    SPEECH.' 

In  the  use  of  this  melody,  the  syllables  consist  lor  the 
most  part,  of  a  series  of  rising  slides,  except  under  par- 
ticular circumstances,  or  at  the  close  of  a  passage. 

The  falling  slide  shuts  up  the  sense  at  the  last  syl- 
lable of  a  cadence.  Sometimes  a  falling  tone  is  intro- 
duced in  other  cases  where  the  sense  is  comple- 
ted, but  where  a  cadence  is  not  required.  The  prece- 
ding diagram  exhibited  an  instance  of  the  use  of  the  sim- 
ple melody  of  speech.  By  inspecting  it,  it  will  be  seen, 
that,  though  we  are  limited  to  the  use  of  the  discrete 
and  concrete  rise  and  fall  of  a  tone,  in  that  species  of 
melody  appropriate  to  the  simplest  form  of  discourse, 
great  provision  is  made  in  its  respective  phrases  for  agree- 
able change.  The  simplest  form  of  speech,  is  therefore  not 
necessarily  monotonous :  on  the  contrary,  it  may  be  al- 
most infinitely  varied.  The  following  diagram  will  show, 
that,  so  long  as  the  conditions  of  this  melody  are  main- 
tained, that  is,  that  no  syllable  exceed  the  slide  of  a  tone, 
and  that  no  two  proximate  syllables  differ  from  each 
more  than  a  tone  at  their  respective  commencing  points, 
its  order  may  be  changed  without  injury  to  the  sound  of 
the.  sentence. 

But  from  the  tomb  the  voice  of      na  -  ture  cries. 


And    in      our   ash  -  es    live  their  won  -  ted  fires. 


**-*- 


The  phrases  of  melody  as  exhibited  in  the  first  dia- 
gram,  only   show  the    possible  combinations    as  they 


80  GRAMMAR    OF    ELOCUTION. 

exist  in  the  nature  of  the  simple  melody,  but  so  long  as 
an  agreeable  variety  is  maintained  as  respects  the  ear, 
there  is  no  prescribed  order  for  their  use.  The  sentence 
now  twice  exhibited  in  the  diagrams,  might  .undergo 
other  changes  in  the  setting  of  the  syllables  without  percep- 
tible injury  to  the  general  melody  of  the  whole.  It  is  to 
be  farther  observed,  that  though  no  two  successive  sylla- 
bles are  to  differ  more  than  a  tone  at  their  commencing 
points  from  each  other,  there  is  ample  provision  in  the 
varied  phrases  for  allowing  of  the  movement  of  the  voice, 
when  necessary  through  its  whole  compass. 

The  following  diagram  will  show  what  we  mean. 

But  yonder  comes  rejoicing    in  the  east,thepow'rflKingofday. 


Here  the  simple  melody  is  preserved,  but  the  voice 
has  traversed  a  range  of  five  tones  of  the  diatonic  scale, 
and  there  is  nothing  in  the  nature  of  the  melody  to  hinder 
it  from  passing  in  its  compass  through  double  that  num- 
ber, in  giving  utterance  to  a  long  sentence.  We  are, 
therefore,  never  compelled  to  employ  wider  intervals 
than  a  tone,  (which  bring  with  them  their  own  peculiar 
expression,)  merely  to  gratify  the  ear  by  a  varied 
melody. 

Variety  is  still  farther  consulted,  both  as  respects  sense 
and  melody  in  the  ordering  of  the  cadence  with  which 
sentences  may  terminate. 

The  first  form  of  cadence  is  that  already  shown  in  the 
diagrams.  In  this  form  the  fall  of  the  voice  is  made  on 


FORMS  OF  CADENCE.  81 

three  successive  syllables,  the  last  of  which  falls  a  tone  in 
its  slide.  The  radical  or  opening  portion  of  each  of 
these  syllables,  is  heard  in  three  distinct  impulses.  On 
this  account  the  close  is  very  perfect,  as  every  step  of  the 
descent  is  strongly  impressed  by  the  full  radical  (which  is 
always  the  loudest  part  of  a  syllable)  upon  the  ear. 

Another  form  of  cadence  is  presented  in  the  following 
diagram. 

A-wake!  a-nte/  or    le   for  -  e  -  ver  fallen  ! 


^ 


The  cadence  is  here  completed,  as  the  diagram  de- 
monstrates, upon  two  syllables.  The  first  moves  through  two 
tones,  by  a  falling  slide  ;  the  second  begins  at  the  end  of 
that  slide  and  then  slides  in  its  turn,  through  a  falling  tone. 
The  first  syllable  of  this  cadence,  being  susceptible  of 
long  quantity  can  be  extended  through  an  interval  of  two 
tones  and  the  second  sliding  through  another  tone  makes 
the  proper  fall  in  this  instance.  But  the  forcible  opening 
of  only  two  syllables,  instead  of  three  is  heard,  and  there- 
fore, as  the  ear  will  perceive,  the  close  is  less  complete. 

The  same  general  remarks  apply  to  the  following  form, 
in  which  the  cadence,  as  in  the  last  instance,  is  made  upon 
two  syllables,  with  this  difference  however  from  it,  that 
the  voice  falls  through  two  tones  upon  the  second  syllable 
instead  of  the  first. 

To     thee        I       call. 


82  GRAMMAR    OF    ELOCUTION. 

Here  the  close  is  also  inferior  in  completeness  to  that 
of  the  first  form  of  cadence. 

Another  form  still  remains  to  be  explained.  In  this, 
the  fall  is  made  upon  a  single  syllable,  the  last  of  the 
sentence,  which  falls  through  three  tones.  The  radical 
body  therefore,  of  a  single  syllable  only  is  heard  in  this 
form  of  cadence.  The  first  may  be  considered  as  con- 
sisting of  three  very  distinguishable  impulses  ;  the  second 
two  forms  of  two ;  the  last  must  be  considered  as  consist- 
ing only  of  one.  On  this  account  the  present  is  the 
weakest  form  of  cadence  ever  employed.  Dr.  Rush  has 
denominated  it  the  feeble  cadence.  It  is  shown  upon  the 
word  tolls  in  the  following  example. 

The     cur  -  few  tolls. 


If  the  voice  falls  upon  the  last  syllable  of  a  sentence 
more  than  a  radical  second,  it  will  make  a  "false  cadence. 
This  always  disappoints  the  ear,  and  should  be  carefully 
avoided.  The  following  diagram  will  exhibit  a  false  ca- 
dence. 

He    expired  in     a  vie?  ling  house, which,  I  hope,  I  shall  not. 


In  order  to  obtain  a  clear  perception  of  the  peculiar 
expression  of  the  Simple  Melody  of  Speech,  let  the  fol- 
lowing sentence  be  employed. 

"  A  man  by  the  name  of  Job,  lived  in  the  land  of  Uz." 
Let  each  word  be  spoken  with  the  rising  slide  of  a  tone, 


SIMPLE    MELODY    OF    SPEECH.  83 

so  slowly,  that  its  precise  melody  can  be  distinctly  ob- 
served by  the  ear.  The  melody  of  the  slides  of  the  long 
syllables,  will  be  easily  recognized,  and  the  short  ones 
may  be  somewhat  drawled,  so  as  to  display  theirs.  After 
the  melody  of  the  slides  has  been  distinctly  ascertained, 
let  the  sentence  be  read,  in  a  natural  manner,  with  an 
occasional  rise  and  fall  of  a  tone  in  radical  pitch,  and  the 
expression  of  the  simple  melody  will  be  made  manifest  to 
the  ear.  After  the  unobtrusive  expression  of  this  form 
of  melody  has  been  duly  apprehended,  any  departure 
from  it,  except  for  the  definite  purpose  of  giving  to  a  syl- 
lable or  syllables  some  special  meaning,  will  be  offensive. 
Disagreeable  habits  of  utterance,  as  respects  pitch,  often 
consist  in  violations  of  this  melody,  without  appropriate 
cause.  These  will  be  pointed  out  under  the  heads  of 
"  Principles  of  Criticism,"  and  "  Faults  in  Reading  and 
Speaking."  As  we  have  already  shown,  a  variety  of  ra- 
dical pitch  is  perfectly  compatible  with  the  simple  form 
of  melody.  The  most  common  fault  in  its  use  is  the 
unvaried  or  too  frequent  use  of  the  monotone. 

Monotony,  besides  its  directly  disagreeable  effect  upon 
the  ear,  deprives  a  discourse  of  all  vivacity  and  ap- 
pearance of  feeling.  On  this  account,  it  shuts  up 
the  sympathies  of  an  audience,  and  when  excessive,  is  a 
most  effective  means  of  destroying  their  attention.  It  is 
not  to  be  expected  that  the  varied  phrases  of  melody  can 
be  intermingled  in  a  regular  order,  or  by  special  choice, 
at  the  ordinary  rate  of  reading  and  speaking ;  but  if  very 
small  sections  of  sentences  are  slowly  read  at  a  time, 
subject  to  the  correction  of  the  student's  own,  or  of  a 
teacher's  ear,  with  a  view  to  the  employment  of  a  varied 
melody,  in  time,  and  by  perseverance,  the  delivery  will 
be  freed  from  all  disagreeable  monotony. 


84  GRAMMAR    OF    ELOCUTION. 

To  attain  this  object,  the  student  should  acquire  a  clear 
perception  of  the  effect  of  the  falling  ditone,  and  a  com- 
mand over  its  use,  so  that  it  may  frequently  play  among 
the  syllables  of  discourse.  Such  a  use  of  the  falling 
movement,  with  an  exact  observance  of  emphasis,  will  di- 
versify the  melody  of  speech  sufficiently  to  render  it 
agreeable  * 

When  the  proximate  syllables  are  not  uniformly  mono- 
tonous, or  so  frequently  alike  in  pitch,  as  to  tire  the  ear, 
there  is  often  another  species  of  monotony  produced  by 
formal  returns  of  the  same  phrases  of  melody  at  certain 
perceptible  intervals  of  time.  Their  return  may  be  con- 
stantly anticipated  by  the  ear,  and  produce  what  may 
be  termed  the  singsong  style  of  delivery.  Such  for- 
mal habits  of  intonation  often  injure  the  style  of  com- 
position as  well  as  of  speech,  as  the  structure  of  senten- 
ces is  regulated  to  meet  them.  The  style  of  Dr.  John- 
son is  so  constructed  as  to  favor  the  formal  melody  here 
condemned;  and  his  monotonous  imitators,  for  a  long  time, 
shut  up  the  current  of  free  thought  in  their  artificial  clau- 
ses, and  threatened  destruction  to  the  flowing  harmony 
and  expansive  energy  of  English  prose. 

The  following  is  a  striking  example  of  the  formal  con- 
struction we  have  alluded  to. 

"  Homer  was  the  greater  genius  ;  Virgil  the  better  art- 
ist :  in  the  one,  we  most  admire  the  man  ;  in  the  other, 
the  work.  Homer  hurries  us  with  a  commanding  impe- 
tuosity ;  Virgil  leads  us  with  an  attractive  majesty.  Ho- 
mer scatters  with  a  generous  profusion ;  Virgil  bestows 


*  Frequent  and  careful  practice  upon  the  Diagrams  will  enable 
the  student  to  discern  and  employ  the  falling  ditone. 


MELODY  AT  PAUSES.  85 

with  a  careful  magnificence.  Homer,  like  the  Nile, 
pours  out  his  riches  with  a  sudden  overflow  ;  Virgil,  like 
a  river  in  its  banks,  with  a  constant  stream.  And  when 
we  look  upon  their  machines,  Homer  seems,  like  his  own 
Jupiter  in  his  terrors,  shaking  Olympus,  scattering  the 
lightnings,  and  firing  the  heavens ;  Virgil,  like  the  same 
power  in  his  benevolence,  counselling  with  the  Gods,  lay- 
ing plans  for  empires,  and  ordering  his  whole  creation." 

Such  a  method  of  writing  naturally  draws  the  voice  in- 
to a  repetition  of  the  same  combinations  of  pitch,  or  in 
other  words,  into  formal  returns  of  the  same  intonation  at 
the  different  sections  responding  to  each  other. 

A  variety  of  other  examples  might  be  given  if  our 
subject  were  Rhetoric  and  not  Elocution,  but  the  super- 
scribed instance  may  be  sufficient  to  induce  us  to  be  upon 
our  guard  against  the  monotony  to  which  such  formal 
composition  naturally  invites.  We  believe  a  wakeful  an- 
ticipation of  the  effects  of  style  on  the  ear,  in  actual  de- 
livery, is  necessary,  or  at  least,  is  greatly  assistant  to  the 
art  of  harmonious  writing.  If  this  is  true,  a  person  who 
understands  elocution  must  possess  a  great  advantage  over 
one  who  is  ignorant  of  its  principles. 

Monotony  at  pauses.  Monotony  will  be  particularly 
obtrusive  at  successive  pauses,  because  the  ear  is  invited 
by  them  to  notice  any  striking  return  in  the  order  of  the 
pitch.  Such  a  return  frequently  takes  place  where  a 
series  of  commas  suspend  the  sense.  In  this  case,  the 
syllable  occurring  before  the  pause  is  generally  heard  as 
a  high  note,  sometimes  from  its  constantly  rising  a  third  in 
radical  pitch,  which  renders  the  recurrent  note  very  con- 
spicuous, and  at  others  from  the  unvaried  use  of  the  rising 

8 


86  GRAMMAR    OF    ELOCUTION. 

ditone,  which  though  not  so  conspicuous  as  the  rise  of  a 
third,  becomes  from  constant  use  a  tiresome  monotony. 
In  the  use  of  the  three  phrases  (the  rising  and  falling  di- 
tone and  monotone)  there  are  ample  means  for  variety  at 
pauses.  They  should  be  used  in  such  succession  as  to 
prevent  any  regular  return  of  the  same  impression  on 
the  ear.  Sometimes  a  particular  preference  of  one  of 
the  phrases  of  melody  over  others  at  a  pause  is  required 
by  the  sense.  We  know  that  a  rising  slide  suspends  the 
sense  more  than  a  falling  one.  Where  a  separation  of 
parts  is  made  by  a  pause,  the  connection  of  sense  is  most 
intimately  preserved  by  the  use  of  the  rising  ditone,  that 
connection  is  somewhat  more  severed  by  the  monotone — 
still  more  by  the  falling  ditone.  If  with  any  one  of  these 
respective  phrases  however,  the  voice  is  suspended  by 
the  rising  slide,  the  dependence  of  sense  is  preserved. 
Sometimes*  however  (as  we  have  just  observed)  the  sense 
requires,  though  not  very  often,  a  preference  of  one  par- 
ticular phrase  over  another.  In  the  following  instance  we 
think  the  falling  ditone  is  best  employed  upon  the  sylla- 
bles "  angel,"  and  the  latter  of  the  two  to  have  the  rising 
slide  ;  while  at  "  desire,"  the  rising  ditone,  with  the  ri- 
sing slide  upon  the  second  syllable,  seems  the  best  order 
of  melody. 

An  -  gel,      thy     dc    -    sire,    which  tends     to    know 


the        work*         of       God,      doth       mer    -    it     praise. 


MELODY    AT    PAUSES.  87 

"  Fair  angel"  is  a  separate  proposition,  and  though  so 
connected  with  what  follows,  as  to  require  the  rising 
slide,  is  best  separated  from  it  by  the  severing  effect  of 
the  falling  ditone  ;  but  the  word  "  desire,"  though  requi- 
ring a  pause  after  it,  is  so  intimately  connected  with  the 
verb  "  doth  merit,"  from  which  it  is  disjoined  by  the  in- 
tervening proposition,  as  to  require  the  additionally  sus- 
pending effect  of  the  rising  ditone.  The  falling  ditone 
at "  Angel,"  the  rising  ditone  at  "  desire,"  and  the  mono- 
tone at  "  God,"  will  be  perhaps  the  best  melody  that  can 
be  employed  in  this  sentence.  Where,  however,  special 
reasons  do  not  exist  for  the  employment  of  particular 
phrases  of  melody,  they  should  succeed  each  other  in  such 
variety  as  to  prevent  all  sense  of  formal  returns  of  note. 

Inexperienced  readers  often  use  the  rising  slide  where 
the  sense  is  so  far  detached  from  what  follows,  as  to  re- 
quire the  falling  one.  In  cases  where  the  falling  slide  is 
required,  but  without  a  full  close,  the  sense  generally  is, 
or  ought  to  be,  shown  to  be  completed  by  the  semicolon 
or  colon.  The  following  example  will  illustrate  my 
meaning.  It  is  taken  from  the  Paradise  Lost,  Book  6th. 

"  Gladly  then  he  mixed 

Among  those  friendly  powers ;  who  him  received 
With  joy  and  acclamations  loud,  that  one, 
That  of  so  many  myriads  fallen,  yet  one 
Returned  not  lost." 

Many  persons  would  use  the  rising  slide  at  "  powers." 
The  distinctness  of  the  propositions  of  the  angel's  joining 
his  ancient  friends,  and  of  their  receiving  him  in  a  parti- 
cular manner,  are,  however,  in  my  opinion,  such  as  to 
justify  the  use  of  the  falling  slide  at  that  word,  notwith- 
standing the  succeeding  relative  "  who." 


GRAMMAR    OF    ELOCUTION. 

When  in  such  cases  as  the  one  above  stated,  a  student 
is  requested  to  correct  himself  by  using  the  falling  slide, 
he  is  very  apt  to  do  so  with  a  full  fall  of  the  voice,  using 
some  form  of  the  cadence  as  he  does  at  a  full  stop.  Now 
what  is  wanting  in  such  instances  as  the  one  cited,  is  a 
falling  slide,  with  a  higher  note  and  a  short  pause.  The 
rising  ditone,  with  a  falling  slide,  and  a  quick  passing  on 
of  the  voice  to  what  follows,  after  a  pause  just  perceptible, 
will  fulfil  the  requisition  of  the  mind  and  the  ear. 

A  nice  ear  will  perceive  the  advantage  in  other  sections 
of  sentences,  where  the  period  is  not  required,  in  using  the 
monotone,  and  falling  ditone,  with  the  falling  slide.  We 
apprehend  the  former  may  be  best  employed  on  the  word 
"  Supreme,"  and  the  latter  on  the  words  "  was  heard,"  in 
the  following  sentence. 

On  to  the  sacred  hill 

They  led  him  high  applauded,  and  present 
Before  the  seat  Supreme  ;  from  whence  a  voice, 
From  midst  a  golden  cloud  thus  mild  was  heard; 
Servant  of  God,  well  done. 

The  note  will  be  perceived  to  be  lower  at  "  Supreme," 
as  compared  with  what  precedes,  than  it  was  at  "  pow- 
ers," in  the  former  example  ;  and  the  "  heard"  will  come 
upon  the  ear  with  more  of  a  fall  than  is  employed  at  "  Su- 
preme," though  here  there  is  not  a  full  fall  of  the  voice. 
These  are  nice  points,  and  may  be  passed  over  by  those 
who  deem  mem  unimportant.  Others,  however,  will 
perceive  that  if  a  cadence  is  used  at  the  word  "heard," 
instead  of  the  falling  ditone,  as  explained  above,  the 
sense  will  be  too  much  separated  from  what  follows. 

A  general  and  popular  direction  for  the  management  of 


MELODT    AT    PAUSES.  89 

loose  sentences  may  be  given  in  some  such  terms  as  these. 
When  the  sense  is  complete  grammatically,  but  yet  in- 
timately connected  with  what  follows,  let  the  falling  slide 
be  used,  but  without  dropping  your  note  upon  the  last 
syllable.  In  other  cases  where  there  is  a  wider  separa- 
tion of  sense,  but  still  a  dependence  of  parts,  let  the  voice 
fall,  but  not  with  a  full  close.  The  falling  ditone  will  ef- 
fect this  object.  An  independent  sentence,  alone,  re- 
quires a  full  close,  which  is  to  be  effected  by  some  form 
of  the  cadence.  Sometimes  when  students  employ  the 
rising  slide  improperly,  and  are  corrected,  they  run  into 
the  opposite  error  of  making  a  full  close.  The  remarks 
we  have  made  are  intended  to  remove  the  difficulty  they 
experience  in  effecting  the  right  inflection.  Persons 
who  cannot  employ  the  variety  above  described,  in  the 
management  of  their  pauses,  never  read  Milton  well. 

It  may  be  farther  observed  that  the  length  of  the  pau- 
ses must  be  regulated  by  the  greater  or  less  intimacy  of 
connection  of  the  parts  which  they  separate.  An  exact 
analysis  of  the  sense  of  an  author,  will  much  contribute  to 
a  correct  use  of  pitch,  both  concrete  and  discrete  at  the 
pauses  of  discourse. 

A  perceptible  return  of  the  same  note  at  the  ends  of  the 
lines  in  reading  rhyme  is  to  be  carefully  avoided.  This 
species  of  monotony  is  particularly  noticed  by  the  ear  on 
account  of  the  recurrence  of  the  measure  and  the  sounds. 
The  phrases  of  melody,  and  the  different  forms  of  ca- 
dence, supply  ample  materials  for  a  constant  variety. 
Here  a  popular  direction  of  practical  utility  may  be 
given  in  intelligible,  if  not  in  philosophical  terms ;  avoid 
the  same  note  at  recurrent  pauses ;  avoid  it  especially  in 
rhyme. 

8* 


90 


GRAMMAR    OF    ELOCUTION. 


Two  examples  are  here  given  of  the  melody  of  pauses, 
with  the  variety  recommended.  If  the  effect  of  the 
scoring  in  this  and  the  preceding  diagrams,  is  carefully 
impressed  on  the  ear,  a  perception  of  the  right  use  of 
pausal  melody  will  be  obtained. 


On  the  thirtieth  of  June,  one  thousand  six  hundred  and  eighty 


I 


Jive,  the  Earl  of    Argyle,     was  bro't  from  the   cas  -  tie,    Jirst 


to  the  Low  Council.  House,and  thence  to  the  place  of  ex-e-cu-timi. 


IT* 


On  Lin  -  den  when  the   sun    was    low, 


All  bloodless    lay    the    un-tiod- den  snnir, 


MELODY    AT    PAUSES. 


And    dark    ai     win  -  ter       was    the   flow 


Of        I  -  ser,    roll  -  ing     ra  -  pid  -  ly. 


On  the  subject  of  closes  of  the  voice,  we  may  remark, 
by  way  of  recapitulation,  that  a  complete  separation  of 
sense  between  the  parts  of  discourse,  requires  the  cadence. 
Some  persons  never  make  a  cadence  and  thus  deny  all  re- 
pose to  the  ear.  You  look  up  at  the  end  of  a  discourse  to 
assure  yourself  they  have  concluded,  for  the  voice  gives 
no  notice  of  it  by  a  perfect  fall.  The  effect  of  the  ca- 
dence, when  properly  introduced,  is  always  grateful ;  and 
the  converse  is  true,  the  ear  is  always  disappointed  when 
it  is  denied  to  it  at  proper  places.  Persons  who  desire 
to  captivate  the  ear  by  the  finished  graces  of  discourse, 
must  acquire  a  ready  command  over  the  fall  of  the  voice. 
The  effect  of  this  can  scarcely  be  described,  but  it  is 
powerfully  felt  in  all  speaking  of  a  serious  character.  A 
public  speaker  can  scarcely  be  eloquent  without  it. 

The  different  forms  of  the  cadence  which  we  have 
described,  will  enable  the  reader  and  speaker  to  make  a 
selection.  The  triad  separates  most ;  the  form  consisting 
of  two  syllables  less ;  and  that  of  a  single  syllable,  the 


92  GRAMMAR    OF    ELOCUTION. 

least;  then  succeed,  in  regular  order,  the  falling  ditone, 
the  monotone,  and  the  rising  ditone,  each  having  the  fall- 
ing slide  upon  the  last  syllable. 

From  what  has  been  stated,  it  will  be  evident  that  dis- 
course can  seldom  continue  long  in  the  melody  appropri- 
ate to  simple  thought;  melodic  emphasis,  interrogation 
and  emotion  being  excluded  from  it.  But  if  it  be  pre- 
served where  it  ought  to  be,  other  intervals  when  requi- 
red will  come  with  all  the  advantage  arising  from  proper 
contrast,  and  will  on  that  account,  represent  with  audible 
precision,  the  ideas  they  ought  to  convey.  But  if  thirds, 
fifths,  and  the  higher  waves,  equal  and  unequal,  are  intro- 
duced without  assignable  cause,  into  discourse,  the  sus- 
ceptibility to  their  impression,  when  they  are  required,  is 
necessarily  weakened.  The  beau  ideal  of  melody  con- 
sists in  the  use  of  the  simplest  form,  (that  of  the  second,) 
for  the  expression  of  plain  thought,  and  in  reserving  the 
higher  intervals,  entirely  for  the  purposes  of  giving  ex- 
pression to  words  which  are  emphatic  or  display  emotion. 
Those  intervals  constitute  the  strong  lights  and  shadows 
of  discourse,  and  should  follow  not  as  the  result  of  faulty 
and  indefensible  habits,  but  from  the  order  of  its  ideas 
and  sentiments. 

There  are  two  phrases  of  melody,  which  if  predomi- 
nant in  discourse,  give  it  a  peculiar  expression.  These 
phrases  are  the  alternate  phrase,  and  the  monotone.  The 
first  is  most  appropriate  to  lively  subjects,  the  latter,  uni- 
ted with  quantity,  to  all  grave  and  solemn  ones. 


QUESTIONS.  93 

QUESTIONS    TO    RECITATION    SIXTH. 

1.  What  is  meant  by  radical  pitch,  as  opposed  to  con- 
crete pitch  ? 

2.  How  is  a  rising  ditone  formed  ? 

3.  Furnish  an  example. 

4.  How  is  a  falling  ditone  formed? 

5.  Furnish  an  example. 

6.  How  is  a  rising  tritone  formed  ? 

7.  Furnish  an  example. 

8.  How  is  an  alternate  phrase  formed? 

9.  Furnish  an  example. 

10.  How  a  monotone? 

11.  Furnish  an  example. 

12.  How  is  the  triad  of  the  cadence  formed  ? 

13.  Furnish  an  example. 

14.  The  student  is  required  to  score  out  the  sentence, 
page  77  on  the  black  board. 

15.  What  conditions  of  pitch  belong  to  the  simple 
melody  of  speech,  and  to  what  portions  of  discourse  is  it 
limited  ? 

16.  What  is  the  most  prevalent  defect  in  the  use  of 
that  melody  ? 

17.  What  are  the  provisions  for  avoiding  it? 

18.  What  are  the  different  forms  of  cadence  ? 

19.  Score  an  example  of  each  upon  the  black  board. 

20.  What  is  the  peculiar  effect  of  the  rising  slide  in 
expression  ? 

21.  What  of  the  falling? 

22.  What  is  the  special  effect  of  the  cadence  in  ex- 
pression ? 

23.  What  are  the  circumstances  which  justify  a  de- 
parture from  the  diatonic  melody  ? 


RECITATION  SEVENTH. 


FULL  CADENCE. 

THERE  is  another  form  of  the  cadence,  which  marks 
the  termination  of  a  subject  more  completely  than  any 
yet  described.  The  fuller  close  of  the  voice  effected  by 
this  cadence,  is  produced  by  falling  a  discrete  third,  or 
fifth,  upon  some  syllable  preceding  the  common  cadence, 
and  near  enough  to  it  to  be  connected  with  it  by  the  ear. 
It  is  exemplified  in  the  following  diagram. 

Such     ho  -  nors      II  -   ion     to       her     lo    -  ver     paid. 


And  peace  -ful  slept      the   migh  -  ty     Hec  -  /or'*  shade. 


The  voice  descends  here  a  discrete  third  upon  the 
word  "  slept,"  which  occasions  a  more  perfect  close  than 
if  the  word  were  retained  within  the  range  of  the  simple 
melody.  This  cadence  should  often  be  employed  at  the 
end  of  a  paragraph,  and  always  at  the  close  of  a  discourse. 


TRANSITION  OF  VOICE.  95 

TRANSITION  OF  VOICE. 

AS  TO  ITS  RADICAL  PITCH. 

The  first  or  prelusive  note  upon  which  a  speaker  sets 
out  in  his  discourse  has  often  an  influence  on  its  whole 
melody.  There  is  a  medium  pitch  of  the  voice,  differ- 
ing of  course  in  different  individuals,  from  which  ascent 
and  descent  through  its  whole  compass  is  easy.  Speakers 
should  be  careful  to  become  familiar  with  this  note,  and 
to  acquire  a  habit  of  striking  upon  it  at  once.  They 
should  always  set  out  with  it  in  discourse,  and  often  re- 
turn to  it.  It  is  the  note  most  frequently  heard  in  ordi- 
nary conversation.  Some  speakers  almost  immediately 
after  commencing  their  discourse,  run  up  to  the  top  of 
the  voice,  and  continue  that  high  pitch  through  the  largest 
portion  of  an  address,  thereby  producing  a  continued 
radical  monotony.  This  is  tiresome  and  offensive,  in 
the  highest  degree.  To  aggravate  the  evil  the  high 
pitch  is  commonly  united  with  great  loudness,  and  an  en- 
tire defect  of  the  cadence  is  usually  superadded.  Oth- 
ers immediately,  or  very  soon  fall  below  the  natural  note 
and  are  not  able  to  rise  again.  They  cannot  make  a 
cadence,  because  they  cannot  descend  below  the  pitch 
they  have  assumed.  They  cannot  speak  with  force,  be- 
cause if  the  voice  descends  to  a  certain  point  below  its 
middle  note  it  ceases  to  be  able  to  employ  force.  Indeed 
this  descent  may  be  carried  so  far,  that  the  syllables  be- 
come at  length  inaudible.  To  maintain  fullness  and  strength 
of  tone,  let  the  middle  note,  or  that  note  above  and  be- 
low, which  the  voice  can  be  easily  managed,  be  always 


06  GRAMMAR    OF    ELOCUTION. 

made  the  starting  point  of  a  discourse.  Further,  let  a 
speaker  accustom  himself  by  frequent  practice  to  rise  and 
fall  upon  sentences,  selected  for  the  purpose,  through  the 
whole  compass  of  the  voice.  Such  a  practice  was  com- 
mon with  the  ancient  speakers,  and  will  be  an  effective 
means  of  removing  the  inconveniences  we  have  descri- 
bed, by  giving  a  ready  command  over  the  scale. 

Another  great  fault  of  delivery  arises  from  want  of 
transition  in  tone  at  those  parts  of  a  discourse  where  the 
speaker  enters  on  a  new  train  of  thought. 

Such  parts  are  generally  divided,  in  writing,  by  para- 
graphs. But  these,  which  require  to  be  marked  by  chan- 
ges of  tone,  are  often  quite  disregarded.  I  have  heard  a 
boy  at  school  deliver  a  long  piece,  distinguished  by  va- 
riety, without  one  marked  transition  of  tone.  I  have 
heard  students  at  college  do  the  same  in  declamations 
composed  by  themselves,  and  well  divided  to  the 
eye.  Nay,  I  have  heard  every  student  do  this  in  a  long 
succession  of  speakers,  where  the  pieces  averaged  ten 
or  fifteen  minutes  in  delivery.  I  have  been  led  by  these 
circumstances  to  point  out  this  defect  to  my  class,  and 
have  shewn  them  by  the  voice,  how  it  might  be  avoid- 
ed ;  and  the  redeeming  effect  of  marked  but  temperate 
transitions  has  been  most  striking  in  their  subsequent  de- 
clamations. Nothing  relieves  the  ear  more  agreeably 
than  well  regulated  transition.  It  should  be  effected 
with  temperance — but  whenever  a  speaker  enters  on  a 
new  train  of  thought,  whether  in  reading  or  speaking,  notice 
should  be  given  to  the  ear  by  the  following  means  differ- 
ently modified  as  to  degree,  according  to  circumstances. 

1.  By  a  change  in  the  quality  and  pitch  of  the  voice. 


TRANSITION  OF  VOICE.  97 

2.  By  an  alteration  in  the  rate  of  the  voice  as  to  quick- 
ness or  slowness.  3.  By  an  abatement  of  the  previous  force 
or  loudness.  4.  By  a  change  in  the  phrases  of  melody. 

The  falling  on  the  monotone,  for  a  short  space,  has  of- 
ten a  striking  effect.  All  these  circumstances  will,  of 
course,  be  most  conspicuous  during  the  pronunciation  of 
the  few  first  sentences,  at  the  fresh  paragraphs,  af- 
ter which  the  voice  will  '.naturally  escape  into  the  freer 
expansion  of  a  more  animated  delivery.  Always  at  the 
introduction  of  a  subject  requiring  a  new  paragraph  the 
directions  here  given  should  be  followed.  But,  in  slighter 
degrees,  the  changes  insisted  upon  should  occasionally  be 
introduced,  to  mark  the  opening  of  successive  sentences.* 

Pupils  never  find  any  difficulty  in  obtaining  a  command 
over  the  changes  of  the  voice  here  described  after  they 
have  been  once  clearly  explained  and  exhibited  to  them. 

The  subject  of  transition  may  be  somewhat  farther  il- 
lustrated by  example  :  and  as  it  is  one  of  considerable 
practical  moment,  we  subjoin  the  following  extract  for 
the  purpose  of  further  explanation. 

1.  At  midnight,  in  his  guarded  tent, 
The  Turk  was  dreaming  of  the  hour, 
When  Greece,  her  knee  in  suppliance  bent, 
Should  tremble  at  his  power ; 
In  dreams,  thro'  camp  and  court,  he  bore 
The  trophies  of  a  conqueror; 
In  dreams  his  song  of  triumph  heard ; 


*  The  happy  transitions,  among  other  marked  improvements  in 
the  delivery,  could  not  fail  to  strike  those  who  attended  the  last 
commencement  of  Yale  College. 

9 


98  GRAMMAR  OF    ELOCUTION. 

Then  wore  his  monarch's  signet  ring, 
Then  pressed  that  monarch's  throne — a  king ; 
As  wild  his  thoughts,  and  gay  of  wing, 
As  Eden's  garden  bird. 

3.  An  hour  passed  on. — The  Turk  awoke : 
That  bright  dream  was  his  last ; 
He  woke — to  hear  his  sentry's  shriek, 
"To  arms!  they  come  !  the  Greek  !  the  Greek!" 
He  woke  to  die  midst  flame  and  smoke, 
And  shout,  and  groan,  and  sabre  stroke, 
And  death  shots  falling  thick  and  fast 
As  lightnings  from  the  mountain  cloud; 
And  heard,  with  voice  as  trumpet  loud, 

Bozzarris  cheer  his  band  ; 
"  Strike — till  the  last  armed  foe  expires, 
Strike — for  your  altars  and  your  fires, 
Strike — for  the  green  graves  of  your  sires, 

God — and  yourjnative  land  !" 

4.  They  fought— like  brave  men,  long  and  well, 
They  piled  that  ground  with  Moslem  slain, 
They  conquered — but  Bozzarris  fell, 
Bleeeding  at  every  vein. 

Jtiarco  Bozzarris.     Elocutionist,  p.  307. 

The  whole  of  the  first  section  of  the  superscribed  ex- 
tract, should  be  read  with  about  the  same  quality,  rate, 
and  pitch  of  voice,  which  are  employed  in  conversation, 
with  perhaps  a  little  more  force.  The  second  sentence 
should  begin  about  a  radical  third  lower,  with  monotone, 
and  a  slower  movement.  Upon  the  third  line,  die 
voice  should  rise  somewhat  higher  in  pitch,  with  some 
increase  of  rate ;  while  upon  the  fourth,  it  should  be  still 
louder,  higher,  and  more  rapid.  Upon  the  last  four  lines 
especially,  the  delivery  should  be  loud,  high  and  rapid. 


TRANSITION    OF    VOICE.  99 

The  voice  should  again  fall  in  pitch,  upon  the  com- 
mencement of  the  next  section,  and  should  be  slow  in  its 
movement,  with  a  prevalence  of  the  monotone. 

These  remarks  may  serve  the  purpose  of  explaining 
more  fully,  what  we  mean  by  transition. 

It  is  less  marked  in  all  its  circumstances,  in  prose  com- 
position, than  in  the  extract  above  cited.  Indeed,  great 
transitions  of  force  and  pitch  are  generally  unnatural ; 
and  to  be  carefully  avoided,  except  under  circumstances 
of  violent  passion  :  but  these  are  for  the  most  part  con- 
fined to  the  stage,  and  never  occur  in  ordinary  compo- 
sition. 


QUESTIONS    TO    RECITATION    SEVENTH. 

1.  How  is  the  most  impressive  kind   of   cadence 
formed  ? 

2.  What  are  the  circumstances  to  be  particularly  at- 
tended to,  in  order  to  effect  transitions  in  the  voice  ? 

3.  Under  what  circumstances  are  they  to  be  em- 
ployed ? 


HECITATION  EIGHTH. 


THE  application  of  rising  and  falling  thirds,  fifths,  and 
octaves,  as  well  as  the  different  waves  of  the  voice,  will 
be  seen  under  the  head  of  emphasis,  and  that  of  the  lan- 
guage of  emotion. 

EMPLOYMENT  OF  QUANTITY. 

The  extension  of  the  time  of  syllables  without  chang- 
ing their  standard  pronunciation,  is  one  of  the  most  im- 
portant uses  of  the  voice.  It  is  not  possible  to  give  a 
serious,  solemn,  or  dignified  expression  to  speech,  nor  to 
employ  one  of  the  forms  of  emphasis  of  a  highly  impres- 
sive and  agreeable  character,  without  a  command  over 
quantity.  Some  syllables  cannot  be  extended  in  their 
time  without  changing  their  natural  sound,  or  rendering 
their  pronunciation  affected.  Act,  pit,  cat,  fate,  dip,  arc, 
are  of  this  sort.  So  also  are  blood,  carry,  memory, 
abominable.  Others  again  are  capable  of  great  prolon- 
gation, and  with  an  increase  of  pleasure  to  the  ear.  Hail, 
all,  thee,  isle,  own,  ooze,  how,  are  of  this  description. 

If  any  person  will  take  these  words  one  by  one,  and 
pronounce  them  as  shortly  as  possible,  and  then  draw 
them  out  more  and  more,  at  successive  efforts,  till  (with- 
out changing  their  familiar  and  acknowledged  sound,)  he 
finds  that  they  are  lengthened  to  such  a  degree  as  to 
become  very  emphatic,  he  will  obtain  an  elementary 
notion  of  quantity.  When  this  is  done  properly,  the  syl- 


EMPLOYMENT    OP    QUANTITY.  101 

Jables  are  just  what  they  were  before,  except  that  they 
are  vastly  longer,  without  drawl,  and  with  a  finer  effect 
upon  the  ear.  The  high  degree  of  impressive  empha- 
sis thus  communicated,  even  upon  a  solitary  syllable,  will 
at  once  demonstrate  the  importance  of  that  mutable,  cha- 
racter, which  it  possesses  as  to  time.  Indeed,  how  could 
such  a  curious  power  of  varying  them,  b.e  give^in-yaio. 
It  is,  like  many  other  powers  of  the  voice,  directly  related 
to  the  language  of  emotion,  for  the  use  of  all  those  who 
have  any. 

There  are  syllables  susceptible  of  slight  extension, 
which  are  intermediate  between  the  two  classes  above 
described. 

If  a  syllable  cannot  be  extended  in  quantity,  without 
changing  the  elementary  sounds  which  compose  it,  or  ren- 
dering its  pronunciation  affected,  it  is  not  to  have  it. 
Such  a  syllable  may  be  considered  as  immutable  with 
regard  to  its  time.     The  conditions  above  stated,  limit 
the  time  of  such  syllables  as  are  mutable.     Those  which 
are  capable  of  great  extension,  may  be  termed  indefinite. 
In  giving  great  length  to  syllables,  and  avoiding  at  the 
same  time,  any  other  form  of  emphasis  except  that  of 
time,  the  flexure  of  the  wave  of  the  second,  is  necessarily 
assumed,  because  the  simple  rise  or  fall  of  the  voice  is 
not  of  sufficient  duration  for  the  display  of  very  extended 
quantity.     A  power  of  giving  great  quantity,  therefore, 
implies  a  power  over  the  wave,  and  a  few  trials  will 
communicate  it  to  the  student.     The  exhibition  of  quan- 
tity is  to  be  perfectly  free  from  the  slightest  drawl.     This 
can  only  be  avoided  by  taking  care  to  give  the  syllables 
with  a  gradual  lessening  of  the  volume  of  the  voice,  du- 
ring its  pronunciation,  and  ending  it  with  the  vanish  for- 

9* 


102  GRAMMAR    OF    ELOCUTION. 

raerly  described.  The  preservation  of  the  exact  condi- 
tions of  the  concrete  slide  as  heretofore  explained,  can 
alone  preserve  a  speaker  from  degenerating  into  song,  or 
drawl  in  the  use  of  long  quantity.  That  part  of  our 
subject  should  be  reconsidered  with  special  reference 
,oi- 

All  the  fon'g'TOwel  elements  are  eminently  susceptible 
of  quantity,  and  always  with  an  agreeable  effect  upon  the 
ear ;  consequently,  all  syllables  which  end  with  these 
elements,  can  be  prolonged.  So  can  many  which  com- 
mence with  them.  The  following  are  specimens. 

Day,     age,     law,     awed,     Fa  (in  father,)  arm, 

thee,      eel,     who,    ooze,     thy,        isle,    thou,       our. 

The  consonant  elements  do  not  admit  of  tiniest  the 
beginning  of  syllables.  If  quantity  be  given  to  them  in 
this  situation,  and  consequently  to  the  syllables  of  which 
they  make  a  part,  the  pronunciation  becomes  affected,  as 
will  be  perceived  on  pronouncing  the  words  contained  in 
the  table  page.  The  following  passage  would  have  a 
very  affected  utterance,  if  the  elements  marked  by  italics 
were  to  be  considerably  extended  in  quantity. 

Oh  could  1,/Z-ow  J-ike  th-ee,  and  m-ake  thy  *£r-eam 
Jtf-y  gr-eat  e-a>ample,  as  it  is  my  theme ; 
Though  tZ-eep,  yet  c/-ear,  though  g-entle,  yet  not  d-ull ; 
Sfr-ong  without  r-age,  without  o'er^-owing,  full. 

I  know  a  gentleman  whose  constant  habit  was  to  give 
length  to  eveiy  consonant  susceptible  of  it,  wherever 
found.  Very  few  persons,  who  by  accident  get  a  habit 
of  quantity,  are  entirely  free  from  the  faults  of  lengthen- 
ing the  consonants. 


EMPLOYMENT  OF  QUANTITY.  103 

With  reference  to  quantity,  consonant  elements  may 
be  submitted  to  the  following  classification. 

*  1 .  Those  which  produce  entire  occlusion,  as  P,  T, 
K.  These  never  perceptibly  increase  the  time  of  sylla- 
bles. Their  utterance  is  a  mere  point  of  sound,  as  a-t, 
o-p,  a-c,  t-\e,  p-\Q,  c-le. 

2.  Those  which  consist  of  mere  aspiration,  as  f,  s,  h, 
wh,  th,  sh,  ch,  can  be  extended,  but  they  are  a  bad  mate- 
rial for  time,  and  ought  to  be  uttered  as  short  as  possible, 
without  rendering  their  enunciation  indistinct.  The  follow- 
ing are  specimens  of  their  combination  with  other  ele- 
ments, as  fle,  so,  os,  horse,  wheat,  thin,  truth,  shun,  ash, 
church. 

3.  Those  which  soon  produce  occlusion,  but  are  first 
vocal  in  the  throat,  are   susceptible  of  some  quantity, 
though  not  of  the  longest.     They  are  b,  d,  g,  and  are 
heard  in  orb,  aid,  egg. 

4.  Those  which  are  vocal  without  occlusion,  are  all  sus- 
ceptible of  extension,  and  are  proper  subjects  of  quantity 
in  certain  combinations,  with  other  elements :  they  are  I, 
m,  n,  r  final,  and   ng ;  the  trilled   r  with  which  sylla- 
bles commence,  does  not  admit  of  much  quantity;  a 
single  slap  of  the  tongue,  so  as  to  make  the  trill  manifest, 
is  sufficient ;  a  farther  continuation  of  it  is  disagreeable 
and  affected.     The  words,  all,  aim,  own,  song,  war,  will 
display  the  quantity  of  these  elements. 

5.  Some  of  those  elements,  which  are  partly  vocal, 
and  partly  aspirate,  have  quantity  in  certain  combinations, 
while  others  rarely,  if  ever,  admit  of  it.     The  vocal  as- 


*  I  am  indebted  to  Dr.  Fitch,  Professor  of  Divinity,  in  Yale  Col- 
lege, for  the  suggestions  which  led  to  this  classification. 


104 


GRAMMAR    OF    ELOCUTION. 


pirates  are  v,  z,  y,  w,  th,  th  as  in  th-ou,  zh  in  a-z-ure. 
Of  these,  v  and  z  are  the  most  liable  to  quantity  at  the 
end  of  syllables,  as  sa-v-e,  i-s,  wa-s;  the  others  seldom 
require  or  bear  extension. 

Let  the  following  words  be  pronounced  with  extended 
quantity,  with  a  fine  display  of  the  vanishing  movement ; 
and  without  the  slightest  affectation  or  change  of  cha- 
racter. 


Orb, 

Jlows, 

one, 

man, 

pure, 

doom, 

cud, 

flowed, 

burn, 

wo, 

dove, 

bale, 

old, 

air, 

swill'd, 

one, 

low, 

flames, 

save, 

star, 

wild, 

gain, 

mov'd, 

is, 

was, 

war, 

plumed, 

spire, 

he, 

knows, 

att, 

song, 

fair, 

rhyme, 

times, 

nine, 

stars, 

prose, 

there, 

hail, 

wings, 

morn, 

thou, 

knell, 

praise, 

world, 

bear, 

wheels, 

call, 

lull, 

tears, 

aim, 

scorn, 

arm, 

home, 

sad, 

turn. 

Let  die  syllables  marked  in  italics,  in  the  following 
sections  of  sentences  be  prolonged  as  much  as  possible 
consistent  with  natural  and  unaffected  pronunciation,  and 
with  the  attenuated  vanish  of  the  voice.* 

Hail,  ho-\y  light.  "Or  of  the  eternal  co-eternal  beam, 
may  I  express  thee  wn-blamed." 

*  Care  must  be  taken  not  to  mouth  the  syllables  marked  in  italic*. 
Mouthing  is  a  deviation  from  standard  pronunciation,  and  is  most 
apt  to  occur  upon  the  sounds  OM,  00,  ate,  o,  and  m.  Whenever 
these  sounds  pass  the  organs  of  speech,  exercise  a  vigilant  observa- 
tion over  the  movement  of  the  lips.  The  less  the  lips  are  used, 
the  more  free  will  be  the  pronunciation  from  the  defect  we  have 
pointed  out: 


EMPLOYMENT    OF    QUANTITY.  105 

"  Dwelt  then  in  thee,  bright  effluence  of  bright  essence 
tVcreate."  "  Be-fore  the  sun,  before  the  heavens  thou 
wert."  "  Thee  I  revisit  now  with  b-oZ-der  wing." 

"  We  praise  thee,  O  God,  we  acknowledge  thee  to  be 
the  Lord." 

"  Our  Fa-ther  who  art  in  heaven.  Hallowed  be  thy 
name.  Thy  kingdom  come.  Thy  vn-ll  be  done  on  earth, 
as  it  is  in  heaven.  Give  us  this  day  our  dai-\y  bread,  and 
forgive  us  our  trespasses  as  we  for-give  them  that  tres- 
pass against  us.  And  lead  us  not  into  temptation:  but 
deliver  us  from  e-vil.  For  thine  is  the  king-dom,  and 
the  power,  and  the  gl-o-ry,  for  ever  and  ever,  .dmen" 

Roll  on,  thou  dark  and  deep  blue  ocean,  roll. 

Soothed  with  the  sound,  the  King  grew  vain. 

None  but  the  brave,  none  but  the  brave, 

None  but  the  brave,  deserve  theyair. 

The  song  be-g*an  from  Jove. 

A  dragon's  fiery  form  belied  the  god. 

Sublime  (on  radiant  spires)  he  rode ; 

And  now  and  then  a  sigh  he  stole,  and  tears  began  to  flow. 

I  will  here  insert  a  list  of  all  the  words  requiring  long 
quantity,  in  Byron's  address  to  the  ocean,  in  the  order  in 
which  they  will  be  found  in  the  Elocutionist,  page  282. 
The  words  requiring  extended  time,  are  in  italics. 

Sec.  1.  Line  1,  "  Oh!"  Line  4,  "love,  but  only 
her."  Line  6,  "  Can  ye  not  accord  me  such  a  being  ?" 
Line  7,  Do  I  err  °l  Line  9,  rarely  be. 

Sec.  2.  Line  2,  lonely  shore.  Line  4,  "  sea,"  "  mu- 
sic." Line  5,  "more."  Line  8,  "mingle  with  the  uni- 
verse and  feel."  Line  9,  con-ceal. 

Sec.  3.     Line  1,  "  roll,"  on  "  roll."     line  2,  "  Ten 


106  GRAMMAR    OF    ELOCUTION. 

thousand."  Line  4,  "shore."  Line  5,"%."  Line 
9,  "  un-k-nelleS"  "  and  un-known." 

Sec.  4.  Line  1,  "  %"  "  thy."  Line  4,  "  des-j>we." 
Line  8,  "  bay."  Line  9,  "  there  let  him  %." 

Sec.  5.  Line  7,  " ffose  are  thy  toys"  Line  8, 
"waves,"  "mar." 

Sec.  6.  Line  1,  "changed  in  all  save  thee."  Line 
S,  "  %"  "/ree."  Line  5,  "  ^Aetr."  Line  6,  "  realms," 
"  not  *o  fAott."  Line  7,  "  unchangeable."  Line  8,  ft'me 
writes  wo  wrinkle  on  thine  azure  6row.  Line  9,  "  dawn" 


I  have  here  noted  every  word  which  appears  tome  to  re- 
quire conspicuous  extension  to  Sect.  7.  The  student  may 
take  his  pencil  and  mark  the  peice  for  himself,  and  then 
read  it,  subject  to  such  marking.  Careful  practice  upoiK 
the  words  and  sentences  before  given,  with  the  reading 
of  a  few  such  pieces  as  that  cited  above,  will  give  a  com- 
plete command  over  quantity  :  one  of  the  most  indispen- 
sible  requisites  to  fine  reading  and  speaking,  and  to  that 
most  important  feature  of  it,  a  distinct  and  well  marked 
pronunciation. 

We  will  recapitulate  the  circumstances  necessary  to 
be  observed  in  the  use  of  quantity,  whether  for  purpo- 
ses of  dignified  narrative  and  description,  or  for  empha- 
sis. They  are, 

1 .  A  well  marked  radical  with  a  lessening  volume  of 
sound  from  the  opening,  and  a  clear  terminating  vanish. 
This  will  keep  the  syllable  free  from  all  admixture  of  song 
and  drawl. 

2.  The  preserving  the  syllable  unaltered  as  respects 
the  natural  sound  of  its  elements. 


EMPLOYMENT    OF    QUANTITY.  107 

S.  The  avoiding  the  slightest  mouthing. 

Good  reading  requires  that  the  syllables  susceptible  of 
quantity  should  be  sufficiently  marked  by  that  element  to 
contrast  them  with  the  audible  effect  of  the  percussive  ac- 
cents heard  in  the  utterance  of  short  ones.  If  time  and  stress 
are  properly  combined  and  marked  in  speech,  it  will  pos- 
sess two  essential  elementary  conditions  of  agreeable 
discourse  upon  which  other  excellencies  may  be  grafted. 
But  if  either  stress  or  time  are  feebly  marked,  other 
beauties  of  utterance  as  emphasis,  intonation,  and  chan- 
ges in  the  quality  of  the  voice  will  not  redeem  it.  A 
well  marked  stress  and  a  gracefully  extended  time  are 
the  staple  of  agreeable  speech.  They  give  it  the  two 
properties  of  smoothness  and  brilliancy.  The  first  de- 
pends on  quantity,  the  latter  on  stress.  The  follow- 
ing subjects  and  all  others  which  are  of  a  serious  and  de- 
liberate character,  require  a  great  extension  of  syllabic 
quantity. 

1 .  Grandeur  and  solemnity  of  Description.     The  fol- 
lowing is  an  instance. 

"  High  on  a  throne  of  roy-al  state,  which  far 
Out-shone  the  wealth  of  Or-mus  and  of  Ind ; 
Or  where  the  g-or-geous  east  with  richest  hand 
Showers  on  her  kings  barbaric  pearl  and  goldy 
Satan  exalted  sat." 

2.  Reverential  and  earnest  prayer,  veneration,  awe,  Sic. 
We  have  cited  the  Lord's  prayer  as  an  instance.  Others 
of  a  similar  kind  abound  in  the  Psalms,  and  in  the  solemn 
supplication  of  the  Episcopal  Church.     Adam  and  Eve's 
Morning  Hymn  is  one. 


108  GRAMMAR    OF    ELOCUTION. 

3*  Solemn  Denunciation. 
*'  Wo  unto  thee  Cho-razin,  Woe  unto  thee  Be\h-saida" 

"  For  soon  expect  to  feel 
His  thun-der  on  thy  head  de-vowr-ing  fire, 
Then  who  created  thee  lamenting  learn, 
When  who  can  wn-create  thee  thou  shalt  know." 

4.  Deep  Pathos.  This  requires  the  use  of  the  wave 
of  the  semitone,  which  is  nothing  but  plaintiveness  and  long 
drawn  time.  The  following  is  a  marked  instance. 

"  We  have  err'd  and  strayed  from  thy  ways,  like  lost 
sheep.  We  have  done  those  things  which  we  ought  not 
to  have  done  and  we  have  left  wn-done  those  things  which 
we  ought  to  have  done,  and  there  is  no  health  in  us.  But 
thou,  O  !  Lord,  have  mercy  upou  us  miserable  of-fend- 
ers.  Spare  thou  those  0  /  God,  who  confess  their  faults. 
Re-store  thou  those  who  are  penitent,  ac-cord-ing  to  thy 
promises  declared  unto  mankind,  in  Christ  Je-sus  our 
Lord.  And  grant,  O !  most  merciful  Father,  for  his 
sake,  that  we  may  hereafter  live  a  godly,  righteous,  and 
so-ber  life,  to  the  glo-ry  of  thy  Ao-ly  name." 

1  have  here  particularized  by  italics,  those  words  which 
require  the  most  marked  extension.  The  general  move- 
ment is  comparatively  slow,  for  these  cast  their  sombre 
shadows  over  the  whole,  and  subdue  it  to  the  tone  of 
deep  and  penitential  sorrow.  Other  instances  will  be 
found  in  this  Grammar,  and  in  the  Elocutionist,  requi- 
ring from  their  dignified  and  serious  character,  an  ex- 
tended time.  The  apostrophe  to  the  Queen  of  France. 
The  extracts  from  the  Revelations :  parts  of  Isaiah  and 
the  Psalms,  together  with  several  others. 


QUESTIONS.  109 


QUESTIONS    TO    RECITATION    EIGHTH. 

1.  What  is  the  meaning  of  quantity,  as  applicable  to 
speech  ? 

2.  What  are  the  conditions  which  limit  its  use  in  syl- 
lables?' 

3.  What  interval  of  pitch  is  most  employed  in  the  use 
of  very  long  quantity  ? 

4.  What  are  the  circumstances  necessary  to  give  it  an 
agreeable  effect? 

5.  How  is  a  drawl  to  be  avoided  ? 

6.  How  is  song  to  be  avoided  ? 

7.  Under  what  particular   circumstances  is  quantity 
inadmissible  on  consonants  susceptible  of  it  ? 

8.  What  is  the  classification  of  elements  best  adapted 
to  present  an  elementary  view  of  quantity  ? 

9.  State  the  different  classes  of  elements  susceptible  of 
quantity. 

10.  To  what  subjects  is  long  quantity  applicable  ? 


10 


RECITATION  NINTH. 


OF   PLAINTIVENESS  IN  SPEECH,  OR  THE 
USE  OF  THE  SEMITONE. 

1  SHALL  state  merely  what  is  directly  practical  on  this 
subject.  Persons  desirous  of  looking  more  deeply  into 
it,  may  consult  with  great  advantage,  Dr.  Rush's  pro- 
found disquisition  on  the  chromatic  melody  of  speech, 
Sec.  18,  page  247,  of  his  "  Philosophy  of  the  human 
voice." 

Let  the  following  vowels  sounds  be  uttered  with  plain- 
tiveness,  and  they  will  slide  through  the  interval  of  a  se- 
mitone, a,  t,  o. 

Let  them  be  sounded  with  a  marked  plaintiveness  of 
character,  at  high  pitch,  at  a  low  one,  and  at  one  that 
is  intermediate  between  high  and  low.  This  will  show 
that  the  plaintiveness  is  inherent  in  the  semitonic  slide, 
wherever  it  may  begin  in  the  compass  of  the  voice.  In 
general,  however,  a  low  radical  pitch  is  best  adapted  to 
subjects  requiring  the  semitone.  All  subjects  of  great  pa- 
thos and  tenderness,  require  the  use  of  the  semitone.  It 
is  the  natural  element  of  the  plaintive  emotions.  Let  the 
student,  therefore,  acquire  a  command  over  it.  This 
will  be  best  effected  by  turning  to  the  table  of  the  vowels 
and  consonants,  and  sounding  them  with  strenuous  en- 
deavour to  give  them  an  unequivocally  plaintive  charac- 
ter, until  it  is  distinctly  marked. 

Let  the  following  sentence?  then  be  read  with  a  con- 
spicuously plaintive  expression. 


PLAINTIVENESS    OF    SPEECH.  Ill 

My  mother,  when  I  learned  that  thou  wast  dead, 
Say,  wast  thou  conscious  of  the  tears  I  shed  ? 
Hovered  thy  spirit  o'er  thy  sorrowing  son  ? 
Wretch,  even  then,  life's  journey  just  begun. 
Perhaps  thou  gavest  me,  though  unseen,  a  kiss ; 
Perhaps  a  tear,  if  souls  can  weep  in  bliss. 
Ah!  that  maternal  smile,  it  answers  yes. 
I  heard  the  bell  toll'd  on  thy  funeral  day ; 
I  saw  the  hearse  that  bore  thee  slow  away ; 
Arid  turning,  from  my  nursery  window,  drew 
A  long,  long  sigh,  and  wept  a  last  adieu. 

Quantity  is  always  united  with  the  semitone,  when  it  is 
employed  in  solemn  and  serious  subjects;  it  then  as- 
sumes the  form  of  the  wave.  The  semitone  is  appropri- 
ate to  love,  pity,  complaint,  vexation,  disappointment, 
sorrow,  penitential  supplication,  and  pain  of  all  kinds. 

EXAMPLE  1.     Love. 

Oh !  Mary,  dear,  departed  shade, 
Where  is  thy  place  of  blissful  rest  ? 
See'st  thou  thy  lover,  lowly  laid  ? 
Hear'st  thou  the  groans  that  rend  his  breast  ? 

EXAMPLE  2.     Pity. 
"  Oh !  sailor  boy,  sailor  boy,  peace  to  thy  soul." 

EXAMPLE  3.     Complaint. 

Q.Kath.  Would  I  had  never  trod  this  English  earth, 
Or  felt  the  flatteries  that  grow  upon  it. 
Ye  have  angel's/ace*,  but  heaven  knows  your  hearts  -. 
I  am  the  most  unhappy  woman  living. 

EXAMPLE  4.     Deep  sorrow. 
"  Oh  my  son   Absalom,  my  son,  my  son  Absalom, 


112  GRAMMAR    OF    ELOCUTION. 

would  God  I  had  died  for  thee,  O  Absalom  my  son,  my 
son." 

EXAMPLE  5.     Disappointment. 

"  Ye  mountains  of  Gilboa,  let  there  be  no  dew,  neither 
rain,  upon  you ;  for  there  the  shield  of  the  mighty  was 
vilely  cast  away.  The  shield  of  Saul  as  though  it  had 
not  been  anointed  with  oil. 

EXAMPLE  6.     Penitential  supplication. 
The  instance  quoted,  page  108,  is  an  example. 
EXAMPLE  7.    Bodily  pain. 

"  Oh  !  Griffith  sick  to  death, 
My  legs  like  loaden  branches  bow  to  the  earth, 
Willing  to  leave  their  burthen.     Reach  a  chair, 
So,  now  me  thinks  I  feel  a  little  ease." 

In  most  of  the  above  cited  examples,  the  reading  con- 
templated, is  that  which  exhibits  personal  feeling  in  the 
highest  degree.  If  some  of  them  are  read  in  a  narrative 
manner,  we  may  drop  the  semitone  retaining  the  long 
quantity.  Language  effects  its  objects  in  two  ways ;  first 
by  the  particular  words  employed,  and  their  connection ; 
and  secondly  by  the  intonation  put  upon  them.  Words 
are  in  themselves  symbols  of  feeling,  but  their  effect  is 
heightened  by  special  conditions  of  melody.  Where  the 
language  is  in  itself  solemn  and  plaintive,  the  superadcli- 
tion  of  long  quantity  and  a  predominant  use  of  the  mono- 
tone, will  be  sufficient  for  a  moderate  degree  of  pathos. 
But  the  highest  expression  of  mournful  feeling,  can  only 
be  effected  by  the  semitone. 


TREMOR    OF    THE    VOICE.  113 

TREMOR  OF  THE  VOICE. 

IN  plain  reading  and  speaking,  this  element  is  seldom 
required.     The  gurgling  of  the  throat,  and  the  neighing 
of  a  horse  are  instances  of  it.     T,  P,  K,  as  producing 
entire  occlusion,  and  the  aspirates  may  be  laid  out  of  our 
account  as  respects  the  tremor.     Let  the  student  turn  to 
the  Table,  and  sound  each  of  the  other  alphabetic  ele- 
ments with  a  prolonged  tremor,  maintaining  the  same 
pitch  throughout  the  process  of  sounding  each,  with  which 
he  begins  it.     Let  him  men  endeavour  to  give  to  each, 
during  the  continuance  of  the  tremulous  movement,  a 
rising  semitone,  third,  fifth,  and  octave  : — afterwards  the 
same  falling  movements.     Strenuous  and  persevering  ef- 
forts will  be  necessary,  in  order  to  rise  and  fall  easily 
through  the   different   intervals  with  tremor ;  but  when 
the  student  can  effect  it  upon  the  alphabetic  elements, 
he  will  find  no  difficulty  in  applying  it  to  words.     Let 
him  as  a  practice,  sound  the  words  contained  in  the  table 
under  the  head  of  quantity,  page  104,  taking  care  that  eve- 
ry element  (except  those  above  excluded  from  conside- 
ration) heard  in  the  word,  sustains  its  due  portion  of  the 
tremor.     Let  them  be  sounded  through  the  intervals,  in 
the  manner  directed  for  the  alphabetic  elements.     The 
circumstances  to  be  aimed  at  in  the  use  of  the  tremor,  are 
to  make  the  separate  tittles  as  distinct  as  possible,  to  make 
them  follow  each  other  with  ease  and  rapidity,  to  have 
each  well  accented,  to  make  them  as  numerous  as  possi- 
ble during  the  proper  pronunciation  of  the  syllables  on 
which  they  are  placed,  and  to  take  care  that  each  ele- 
ment contained  in  them,  sustain  its  due  portion  of  the 

10* 


114  GRAMMAR    OF    ELOCUTION. 

movement.  In  the  higher  kinds  of  poetry  and  oratory, 
the  tremor  judiciously  applied,  has  sometimes  a  very 
striking  effect.  Persons  on  the  stage,  who  have  obtained 
a  command  over  it,  generally  employ  it  to  excess,  and  on 
improper  occasions.  It  unites  very  naturally  with  other 
elements  of  the  voice,  in  the  expression  of  several  of  the 
emotions,  and  increases  the  intensity  of  their  expression. 
It  heightens  the  trill  of  joy,  mirth,  and  exultation  ;  adds 
pungency  to  scorn,  or  derision  ;  deepens  the  note  of  sor- 
rowful feeling ;  and,  enhances  the  voice  of  distress.  It  is 
heard  in  laughing  and  crying.  In  the  former  it  is  em- 
ployed with  the  tone — in  the  latter  with  the  semitone. 
As  it  is  occasionally  required  for  such  purposes  as  we 
have  specified,  it  should  be  at  the  command  of  the  rea- 
der and  speaker.  The  elementary  practice  here  enjoin- 
ed, will  place  it  at  his  disposal ;  and  the  examples  which 
follow,  may  instruct  him  in  its  appropriate  use.  It  is  to 
be  employed  with  temperance,  for  it  lies  on  the  extremes 
of  the  emotions.  Indeed,  with  regard  to  this  and  to  all 
other  striking  elements  of  the  art  of  speech,  the  youthful 
speaker  must  acquire  a  temperance,  consistent  with  na- 
ture, and  the  general  taste  of  society. 

As  to  the  acquisition  of  the  elements,  let  the  student 
be  assured  that  no  considerable  difficulty  lies  in  his  way 
here.  All  that  has  been  wanted,  has  been  to  know  the 
elements,  to  classify,  to  name  them,  to  render  them  se- 
parate objects  of  elementary  practice,  to  learn  them  in 
the  way  of  analysis,  before  attempts  are  made  to  com- 
pound them  together,  for  the  purpose  of  communicating 
the  sense  and  sentiment  of  discourse.  Ignorance  of  them, 
want  of  practice  upon  them,  and  previous  bad  habits, 


TREMOR    OF    THE    VOICE.  115 

mainly  growing  out  of  such  ignorance  and  want  of  prac- 
tice, are  the  sources  of  faulty  speaking. 

Examples  of  the  tremor.  It  should  be  heard  in  the 
congratulatory  exultation  of  Aufidius,  the  Volscian  gene- 
ral, upon  finding  that  Coriolanus  was  disposed  to  join  the 
Volscians  against  his  country. 

All  the  syllables  on  which  (I  think)  it  should  be  heard, 
are  marked  by  italics. 


,        Oh  !  MarciuS)  Marcius  ! 

Each  word  which  thou  hast  spoke,  has  weeded  from  my  heart 
A  root  of  ancient  envy  :  if  Jupiter 
Should  from  yon  cloud  speak  divine  things,  and  say 
Tis  true,  I'd  not  believe  them  more  than  thee, 
All  no-ble  Marcius  ! 

"  Why  thou  Mars  !  I  tell  thee, 
We  have  a  power  on  foot  ;  and  I  had  purpose 
Once  more  to  hew  thy  targe!  from  thy  brawn, 
Or  lose  mine  arm  for  it." 

Falstaff.  "  Til  not  march  through  Coventry  with 
them  that's  flat.  No  eye  hath  seen  such  scare-crows" 

This  is,  as  the  reader  will  perceive,  an  extract  from 
FalstafTs  ragged  regiment  ;  the  whole  of  which,  if  dra- 
matically read,  and  little  effect  can  be  given  to  it  by  a 
merely  plain  reading,  requires  an  almost  continual  chuck- 
le, and  is  a  fine  instance  for  the  expression  of  the  tremor, 
which  is  required  upon  almost  every  syllable.  This 
piece  should  be  practiced  for  its  acquisition.  It  will  be 
found  in  the  Elocutionist,  page  125. 

Queen  Katharine,  in  commending  her  daughter  Mary 
to  Henry,  terminates  the  affecting  bequest,  with  these 
words  of  sorrowful  and  thrilling  tenderness.  They  re- 


116  GRAMMAR    OF    ELOCUTION. 

quire,  in  dramatic  reading,  the  marked  expression  of  the 
semitone  ;  while  the  tremor  should  play  throughout,  and 
especially  upon  the  words,  "  Heaven  knows  how  dearly." 

"  And  a  little 

To  love  her  for  her  mother's  sake,  that  loved  him, 
Heaven  knows  how  dearlv." 


QUESTIONS  TO  RECITATION  NINTH. 

1 .  What  are  the  circumstances  necessary  to  render  the 
tremulous  movement  of  the  voice  consistent  with  the  re- 
quisitions of  the  art  of  elocution  ? 

2.  To  what  emotions  is  it  generally  applicable  ? 

3.  The  student  is  required  to  exhibit  it  on  the  ele- 
ments,— on  a  series  of  words, — on  the  examples. 


RECITATION  TENTH. 


FORCE  OF  VOICE. 

FORCE  of  voice  may  be  heard  at  the  beginning  of  a 
syllable  exclusively,  by  abrupt  percussion ;  in  the 
middle  of  its  course  by  swell  of  voice,  increasing  from 
the  beginning  of  the  syllable  ;  or  it  may  be  con- 
spicuously marked  at  the  termination,  or  at  loth 
ends,  or  equally  throughout  the  whole  body  of  a  syl- 
lable. The  vowel  elements,  as  we  have  already  shown, 
can  be  exploded  with  a  very  high  c!egree  of  sud- 
den force.  A  long  vowel  may  be  made  to  burst  upon 
the  ear  at  its  commencement  with  great  explosive  energy, 
and  then  the  voice,  constantly  and  equably  diminishing  in 
volume,  may  carry  it  through  an  extended  quantity  to  its 
final  termination  in  a  delicate  vanish. 

To  this  commencing  force,  Dr.  Rush  has  given  the 
name  of  RADICAL  STRESS,  because  it  is  effected  by 
the  radical  part  of  a  syllable.  (See  p.  76.)  We  have 
already  spoken  of  its  importance  and  of  the  elementary 
method  of  acquiring  it.  This  kind  of  force  expresses 
strong  anger  and  all  the  passions  allied  to  it.  It  is  appro- 
priate to  impetuous  mirth,  indeed  to  all  the  animating 
emotions  ;  to  wrath,  joy,  hope,  exultation,  positiveness, 
and  in  a  greater  or  less  degree,  to  the  different  modifica- 
tions of  these  states  of  mind.  Radical  stress  is  gene- 
rally combined  with  short  syllabic  quantity,  and  a  conse- 
quent rapid  movement  of  the  voice  in  discourse.  In 
the  expression  of  impetuous  anger,  in  dramatic  reading 


118  GRAMMAR    OF    ELOCUTION. 

the  words  ought  to  burst  forth  like  the  rapid  and  succes- 
sive explosions  heard  in  a  display  of  fire  works,  cracking 
upon  the  ear  with  a  constant  repetition  of  short  but  ve- 
hement impulses.  Few  actors  can  give  the  expression 
here  contemplated,  and  therefore,  rant  and  mouth  to 
compensate  for  their  want  of  it.  Force,  when  employed 
effectively,  in  right  places,  is  a  symbol  of  energy  of  feel- 
ing. In  the  delivery  of  the  English  language,  it  is  a  pow- 
erful agent  of  Oratory  ;  it  makes  dullness  attentive,  com- 
municates an  impetuous  spirit  to  discourse,  and  when 
united  with  strong  intelligence  and  personal  influence, 
rouses,  animates,  intimidates,  overawes.  When  employ- 
ed in  a  moderate  degree  under  the  form  of  a  well  mark- 
ed accent,  it  gives  life  and  animation  to  discourse,  and 
makes  it  what  is  usually  called  brilliant. 

The  address  of  Henry  to  his  troops  before  the  gates 
of  Harfleur  may  be  cited  as  requiring  a  high  degree  of 
the  species  of  stress  just  described.  The  four  last  lines 
of  Sect.  3,  page  308  of  the  "  ELOCUTIONIST,"  is 
another  instance.  Another  is  the  last  words  of  Edward 
to  Warwick,  page  327  of  that  work.  Sections  8  and  9, 
page  343,  are  other  examples. 


VANISHING  FORCE  OR  STRESS. 

It  has  been  already  shown,  that,  in  ordinary  cases,  the 
volume  of  the  voice  diminishes  during  the  pronunciation 
of  a  long  syllable,  and  that  it  is  weakest  at  its  termina- 
tion. Now  force,  may  be  applied  at  this  very  point. 
Such  an  application  of  force,  Dr.  Rush  has  called  Van- 
ishing Stress,  because  it  occurs  at  that  part  of  the  sylla- 


FORCE  OF  VOICE.  119 

bles  where  sound  usually  vanishes  into  silence.  This 
kind  of  stress  cannot  be  well  shown  on  any  but  a  long 
syllable,  because  upon  a  short  one,  extremities  cannot  be 
rendered  conspicuous  by  quantity. 

The  vanishing  stress  is  very  distinctly  marked  in  Hic- 
cough. An  impressive  illustration  of  its  effects  may  be 
obtained  by  attention  to  the  Irish  pronunciation,  the  pe- 
culiarity of  which  depends  on  vanishing  stress  united 
with  the  frequent  rise  of  a  third  and  fifth. 

Let  the  student  turn  to  the  table  of  the  vowel  ele- 
ments, and,  selecting  one  of  the  long  vowels,  let  him  be- 
gin it  with  moderate  force,  carrying  it  through  any  one 
of  the  intervals,  (say  a  rising  third  or  fifth)  with  long 
quantity  making  a  strong  and  sudden  jerk  at  its  termina- 
tion, and  an  impressive  exhibition  will  be  made  of  the 
kind  of  stress  we  are  describing.  As  soon  as  he  has  as- 
certained the  nature  of  the  movement  he  may  then  prac- 
tice it  upon  the  other  intervals  of  the  scale.  It  may  be 
also  manifested  on  the  consonants  susceptible  of  quan- 
tity. 

This  stress  is  often  employed  to  make  the  concrete 
interval  of  thirds  and  fifths  more  conspicuous  in  interro- 
gation. It  expresses  impatient  ardor,  complaint, '  hasty 
and  irritable  interrogation,  surprise,  and  fretfulness.  It 
is  often  heard  in  the  fretful  complaints  of  children.  It 
is  more  or  less  the  habit  of  some  voices,  as  well  as  a 
national  characteristic. 

Some  striking  examples  of  its  use  will  be  given  under 
Emphasis.  We  would  remark,  however,  that  if  its  ap- 
plication is  to  be  natural,  it  must  be  "  touched  lightly." 
In  the  trials  of  beginners  to  verify  elements,  they  are  apt 
to  be  given  in  an  excessive  degree,  or  in  a  bungling  man- 


120  GRAMMAR   OF    ELOCUTION. 

ner.  This  leads  some  superficial  people  to  condemn  the 
art  of  elocution,  as  if  it  produced  an  unnatural  or  artifi- 
cial method  of  speaking.  But  time  and  practice  are  ne- 
cessary to  success  in  every  art.  Let  the  ear  be  first  im- 
pressed by  a  marked  exhibition  of  the  elements,  and  then 
let  them  be  diligently  practiced  till  their  expression  be- 
comes easy  and  natural.  All  this  may  be  effected  in 
much  less  time  than  is  required  to  play  well  on  a  flute  or 
a  violin. 


COMPOUND  FORCE. 

FORCE  is  sometimes  applied  at  both  ends  of  a  sylla- 
ble. Some  examples  of  this  will  be  given  under  Empha- 
sis. For  practical  purposes,  nice  distinctions  between 
this  compound  use  of  force,  and  that  last  described,  are 
not  necessary. 


MEDIAN  FORCE. 

BUT  force  is  sometimes  heard  under  another  form. 
Not  at  the  opening  of  a  syllable — not  at  its  termination — 
but  conspicuously  during  its  pronunciation.  This  pe- 
culiar application  of  force,  Dr.  Rush  calls  median  stress. 
Let  the  following  directions  be  observed  in  the  pronunci- 
ation of  the  subscribed  syllables.  Sole,  hail,  feel,  J. 
Let  each  be  opened  with  moderate  force — let  the  voice 
gradually  swell  in  volume  as  it  proceeds,  till  the  force  be- 
comes conspicuous,  and  then  let  it  diminish  in  the  gradu- 
al manner  in  which  it  increased,  and  end  in  the  usual 


MEDIAN    FORCE.  121 

vanish.  This  kind  of  force  can  only  be  shown  in  syl- 
lables of  long  quantity,  and  naturally  carries  them  through 
some  form  of  the  wave.  The  practice  should  be  on  the 
wave  of  the  second*  Median  force  is  well  known  in  mu- 
sic by  the  term  swell.  It  is  a  conspicuous  ornament  of 
song,  and  may  be  employed  with  equal  effect,  in  speech. 
It  gives  emphasis  to  words  without  communicating  to 
them  a  character  of  sharpness  or  violence;  enforcing 
with  agreeable  smoothness,  the  expression  of  those  mo- 
difications of  joy,  exultation,  hope,  and  surprise,  which 
are  compatible  with  personal  dignity.  It  also  gives  em- 
phasis to  words  of  insinuation,  and  to  such  as  express 
solemn  grandeur,  reverential  awe,  and  kindred  emotions. 
Several  examples  of  the  application  of  Median  Stress, 
will  be  given  under  Emphasis.  We  conclude  by  ob- 
serving, that,  it  is  the  proper  emphasis  in  all  subjects  re- 
quiring long  quantity  ; — consequently,  in  all  those  of  a 
dignified  character.  It  is  an  element  requiring  great 
delicacy  in  its  management.  The  swell  is  in  general, 
only  slightly  marked,  when  naturally  used ; — any  thing 
like  violence,  is  foreign  to  this  species  of  emphasis. 

Whenever  it  is  practised  upon  the  alphabetic  ele- 
ments, the  circumstances  to  be  aimed  at,  are,  that  the 
swell  should  be  gradual  and  moderate,  but  at  the  same 
time  distinctly  marked,  that  it  should  decline  gently  and 
equably  as  it  began,  and  end  in  a  delicate  vanish  into 
silence,  after  a  prolonged  quantity.  Great  pains  should 
be  taken  to  acquire  a  power  over  median  stress.  The 
long  vowels  are  eminently  susceptible  of  it.  It  may  be 
farther  practised  upon  the  tables  of  words,  under  the 
head  of  quantity,  page  104. 
11 


122  GRAMMAR    OF    ELOCUTION. 


ASPIRATED  MOVEMENTS  OF  THE  VOICE. 

SEVERAL  of  the  elements  are  uttered  by  mere  whis- 
pering: for  instance,/,  $,  sh,  th,  wh,  cA,  and  others.  All 
these  elements  are  alike  in  one  generic  quality.  They 
have  no  sound  in  the  throat.  They  are  under  any  in- 
crease of  stress,  mere  forcible  breath.  The  vowel  ele- 
ments, as  may  be  proved  by  turning  to  the  tables,  have 
no  aspiration  in  their  customary  mode  of  utterance. 
Some  of  the  consonants  are  free  from  it,  while  others 
are  entirely  aspirate,  and  others  partly  vocal  in  the  throat, 
and  partly  aspirate.  It  is  possible  to  mingle  aspiration 
with  all  the  vowel  elements :  let  this  be  tried  upon  o,  00, 
ee,  a.  It  is  possible  to  make  them  entirely  aspirate,  by 
whispering  them.  Aspiration  can  be  breathed  among 
words  in  a  greater  or  less  degree,  till  they  become  per- 
fect whispers.  If  words  are  vociferated  with  excessive 
violence,  they  become  aspirated.  This  is  sometimes  a 
cause  of  indistinct  articulation,  particularly  in  the  ranting 
of  the  stage.  Aspiration,  in  this  case,  depends  upon  a 
greater  quantity  of  air  being  forced  from  the  throat,  than 
can  be  brought  into  vibration  against  the  roof  and  sides 
of  the  mouth.  Aspiration  gives  to  words  an  air  of  mys- 
tery. It  expresses  excessive  earnestness,  strong  anger, 
sneering  contempt,  scorn,  and  violent  rage.  Hissing, 
which  is  unmixed  aspiration,  expresses  scorn  in  the 
highest  degree.  Aspiration  adds  to  the  scornful  expres- 
sion of  the  unequal  waves.  It  is  an  element  requiring 
care  in  its  use. 


GUTTURAL  EMPHASIS. ACCENT. 


123 


EXAMPLES. 

Aspiration  should  prevail  in  the  following  mysterious 


44  Then  first,  with  amazement,  fair  Imogine  found 

That  a  stranger  was  placed  by  her  side ; 

His  air  was  terrific ;  he  uttered  no  sound ; 

He  spoke  not,  he  moved  not,  he  looked  not  around, 

But  earnestly  gazed  on  the  bride." 

And  in  the  following. 
Shylock.    How  like  a  fawning  publican  he  looks  ! 


GUTTURAL  EMPHASIS. 

THERE  is  a  harsh  grating  sound  in  the  throat,  expres- 
sive of  the  highest  degree  of  loathing,  scorn,  and  anger, 
which  is  sometimes  required  in  the  strong  expression  of 
dramatic  reading. 

It  requires  to  be  united  with  strong  radical  stress,  and  is 
always  accompanied  with  aspiration.  See  example  un- 
der Emphasis. 


ACCENT. 

THE  property  of  syllables,  so  well  known  by  the  name 
of  accent,  is  dependent  on  the  perception  the  ear  has  of 
force  and  time.  The  former  communicates  accent  to 
short,  the  other  to  long,  syllables. 


124  GRAMMAR    OF    ELOCUTION. 

Short  syllables— wc-tory,  tew-poral,  ra-pidly.    Long — 
Ao-ly,  an-gel, /ear-less. 


QUESTIONS    TO  RECITATION    TENTH. 

1.  What  are  the  ways  in  which  force    is  applied  to 
syllables  ? 

2.  What  is  meant  by  radical  stress  ? 

3.  What  by  vanishing  ? 

4.  What  by  median  ? 

5.  What  by  compound  ? 

6.  To  what  subjects  is  radical  stress  appropriate  ? 

7.  To  what  median  ? 

8.  To  what  vanishing  and  compound  ? 

9t  The  student  is  required  to  give  some  striking  in- 
stances of  the  different  kinds  of  stress. 

10.  What  is  meant  by  aspiration? 

1 1 .  What  elements  consist  of  pure  aspiration  ? 

12.  Can  all  the  elements  be  rendered  partially  or 
wholly  aspirate? 

13.  How? 

14.  To  what  sentiments  is  aspiration  appropriate  ? 

15.  How  is  guttural  emphasis  produced? 

16.  The  student  is  required  to  give  a  vocal  demon- 
stration of  it  in  one  of  the  examples  under  emphasis. 

17.  To  what  conditions  of  feeling  is  it  applied  ? 

18.  How  is  accent  produced? 

19.  Give  an  instance  of  accent  by  stress, 

20.  By  quantity. 


RECITATION   ELEVENTH, 


MEASURE  OF  SPEECH. 

WE  are  now  to  enter  on  a  subject  highly  curious  as  a 
part  of  the  Physiology  of  speech,  and  connected  with 
facility  of  utterance. 

Whether  habits  of  frequent  public  speaking  shah1  be 
compatible  with  easy  respiration,  and  with  health,  or  shall 
in  many  cases  be  destructive  of  the  constitution,  will  de- 
pend on  a  comprehension  and  application  of  the  princi- 
ples contained  in  this  section  of  our  subject.  On  a  pre- 
servation of  the  measure  of  speech,  as  here  explained, 
will  depend  harmony  oT  utterance  as  well  as  its  healthful 
exercise.  Public  speaking  is  a  healthful  exercise  if  pro- 
perly conducted ;  but  of  most  evil  tendency  to  every  de- 
licate constitution,  if  prosecuted  against  the  laws  of  mea- 
sure. We  request  attention  to  the  following  prelimina- 
ry observations. 

The  Larynx,  (the  primary  organ  of  voice)  is  a  com- 
pound organ.  It  performs  the  function  of  an  air  tube 
and  of  a  musical  instrument.  The  first  is  essential  to  re- 
spiration, the  second  to  speech.  By  a  beautiful  law  of 
relation,  which  we  shall  presently  explain,  a  perfectly  un- 
disturbed respiration  is  compatible  with  the  flow  of  ener- 
getic discourse.  But  that  law  requires,  the  division  of 
continued  speech,  into  measures. 

Definition.  A  measure,  as  applied  to  speech,  consists 
of  a  heavy  or  an  accented  portion  of  syllabic  sound,  and 
of  a  light  or  unaccented  portion,  produced  by  one  effort 
11* 


126  GRAMMAR    OF    ELOCUTION. 

of  the  organ  of  voice.  In  the  production  of  all  imme- 
diately consecutive  sounds  the  larynx  acts  by  alternate 
pulsation  and  remission.  On  this  account,  two  heavy  or 
accented  syllables  cannot  be  alternated  with  each  other  ; 
while  a  heavy  and  a  light  one  or  an  accented  and  an  un- 
accented one,  can.  The  word  Hunter  can  be  uttered  by 
a  single  effort  of  voice  ;  the  first  portion  of  that  effort  is 
pulsative,  the  second  is  remiss,  and  the  two  syllables  al- 
ternate with  each  other.  But  the  syllable  "  hunt"  can- 
not be  uttered,  as  it  is  spoken  in  the  word  "  hunter," 
that  is,  under  accent,  twice,  in  immediate  alternation. 
There  must  be  a  palpable  hiatus  or  pause  between  the 
repeated  syllables  as  hunt,  hunt.  Therefore  in  assuming 
consecutive  pulsation  and  remission  of  the  organ  of  the 
voice,  in  the  pronunciation  of  the  word  "  hunter,"  we  in- 
tend to  express  the  fact  of  alternation  in  the  utterance  of 
the  syllables  and  to  account  for  it  upon  some  law  of 
alternate  forcible  and  remiss  organic  action. 

Let  A  stand  for  heavy  or  accented,  and  .-.  for  lighjt  or 
unaccented  in  our  future  explanations. 

A  perfect  measure  in  speech  consists  of  one,  or  any 
greater  number  of  syllables,  not  exceeding  fae,  uttered 
during  one  pulsation  and  remission  of  the  organ  of  voice. 
A  single  syllable  may  constitute  a  measure  ;  for  if  it  be 
extended  in  quantity,  the  first  portion  may  be  under  ac- 
cent, or  may  be  perceptibly  heavy,  and  the  latter  unac- 
cented or  light.  A  short  syllable  will  not  constitute  a 
measure.  The  syllables  hail,  woe,  man,  and  others  will 
make  a  perfect  measure, — their  length  admitting  of  a 
remission  as  palpable  as  if  the  word  consisted  of  two 
written  syllables.  Syllables  therefore  of  indefinite  quan- 
tity can  be  so  pronounced  as  to  constitute  a  measure  or 


MEASURE  OF  SPEECH.  127 

not,  at  the  option  of  the  speaker.  The  heavy  or  accent- 
ed portion  of  a  measure  cannot  be  spread  over  more 
than  a  single  syllable  ;  in  other  words  from  some  inex- 
plicable law  of  the  voice,  more  than  one  syllable  cannot 
be  uttered  during  what  we  have  ventured  to  call  its  pulsa- 
tive  effort;  while,  as  we  shall  see  presently,  its  remiss  ac- 
tion can  be  farther  divided.  A  measure  may  consist  of 
two  distinct  syllables,  as  temper,  the  first  heavy,  the  se- 

A    /. 
cond  light :  but  it  may  consist  of  three,  as  in  temperance, 

A  /.     .'. 

the  first  being  heavy,  and  responding  to  pulsation,  the  two 
latter  ones  light,  and  dividing  between  them  the  remiss 
action  of  the  voice.  Four  syllables  may  make  a  meas- 
ure, as  in  spiritual — so  may  five,  as  spiritually  :  here  the 

A  /.  /.  /.  A  /.  /.  /.  /. 

remission  is  farther  subdivided  ;  but  in  its  nature  it  is  dis- 
tinct organic  action  from  that  employed  on  the  first  sylla- 
ble. I  believe  more  than  five  syllables  cannot  be  crowd- 
ed into  one  measure.  Five  are  sometimes  employed  in 
lyric  poetry.  Milton  and  Shakspeare,  have  not,  as  far  as 
I  know,  ever  employed,  in  any  of  their  lines  more  than 
four  syllables  in  a  measure.  It  is  by  no  means  necessary 
that  a  measure  should  consist  of  a  single  word.  I  only 
make  this  observation  because  single  words  have  been 
employed  for  illustration,  and  I  was  afraid  they  might 
mislead  some  of  my  junior  readers  into  wrong  notions  at 
the  outset.  <  Came  to  the',  is  a  measure;  so  is  '  when  he 

A      .'.    /.  A      /. 

was  in.'    He  had  a  fever  I  when  he  was  in     Spain.     So 

I     A     .-.    /.   .;. 
is  the  part  distinguished  by  notation  in  the  following  sec- 


128  GRAMMAR  OF    ELOCUTION. 


tion  of  a  sentence.     "  In  the  second 


century  of  the 


A  /.  /.  .'.     .'.    I 
Christian  era,  &c.;"  for  it  can  be  uttered  during  a  single 
movement  of  the  voice. 

An  imperfect  measure  in  speech  consists  of  a  syllable 
on  which  only  the  heavy  part  of  the  voice  is  heard,  or 
of  a  syllable  or  syllables  on  which  only  the  light  portion 
of  the  measure  occurs.  A  bar  |  |  is  a  mere  technical 
invention  employed  to  separate  one  measure  from  ano- 
ther; the  time  being  calculated  from  one  bar  to  another. 
The  time  of  every  bar  is  actually,  or  is  supposed  to  be, 
equal  in  speech,  as  in  music.  A  bar  may  contain  an 
imperfect  foot,  the  accented,  or  the  unaccented,  poriion 
of  the  measure  being  wanting.  The  time  of  the  bar  is, 
in  that  case,  completed  by  a  rest  indicated  in  this  gram- 
mar by  the  following  mark  7. 


EXAMPLE. 


'Twas  at  the 

A      .'.    .'. 


royal 


feast  7 

A     /. 


7  for  I  Persia  I  won. 
A  /.        A  .'..•.       A.\ 


In  this  example  "  feast"  is  heavy,  and  "  for"  light. 
The  whole  time  of  a  bar  may  pass  in  silence  |  7  7  |  the 
two  rests  indicating  the  time  of  the  heavy  and  light  por- 
tions of  the  measure;  or,  two  or  more  may  be  occupied  in 
the  same  manner  |  7  7  |  7  7  |  7  7  \  .  The  number  must 
be  determined  by  the  sense,  and  the  consequent  necessity 
of  longer  or  shorter  pauses. 

In  a  succession  of  measures,  each  is  supposed  to  con- 
sist of  a  heavy  and  a  light  portion  of  sound  ;  but  imper- 
fect measures  must  occur,  and  their  time  is  consequently 


MEASURE    OF    SPEECH.  129 

completed  by  pauses.     For  measures  of  equal  time, 
however  constituted,  make  musical  proportion. 

Heavy  and  light  sounds  in  immediate  succession,  con- 
stitute the  bases  of  such  syllables  as  fancy,  picture,  linden, 

A    /.     A    .*.      A    /. 

temper.     Light  and  heavy  sounds,  make  such  as  attest, 

A  6         VN&ij  •'• A 

impel,  attack,  and  others  which  begin  in  a  similar  manner. 

.'.    A      .'.    A 

Heavy  sounds  in  succession,  require  intervening  pauses, 
as  may  be  perceived  by  uttering  the  words  house  7  top 

A         /.    A 

7  cat    7  fish  7. 

.'.   A     .*.     A     /. 

Monosyllables,  constituting  nouns,  and  verbs  not  mere- 
ly auxiliary,  are  generally  affected  to  the  heavy  or  ac- 
cented function  of  the  voice,  and  particles  to  the  unac- 
cented or  light. 

This  alone  shows  the  importance  of  accent  in  the  use 
of  language.  Light  syllables  can  be  rendered  heavy  by 
emphasis,  heavy  ones  light,  as  man,  woman, 

A       A     /. 

From  what  has  been  stated,  it  is  evident,  that  a  series 
of  syllables,  of  which  each  is  heavy,  will  employ,  together 
with  the  pauses  between  them,  the  same  time  as  if  light 
syllables  followed  the  heavy  ones. 


EXAMPLE. 


Rocks  7    I    Caves 

A        .*.  A 


Lakes  7 

A 


Dens  7 

A 


These  are  all  supposed  to  be  pronounced  short,  though 
some  might  be  prolonged.  They  will  occupy  the  time  of 
the  following  series. 


130  GRAMMAR   OF    ELOCUTION. 

Rocks  and    I    Caves  and    I    Lakes  and    I    Dens  7 

A        /.  A          /.  A  /.  A 

If  the  pronunciation  of  the  following  imaginary  sen- 
tence, (constructed  to  show  every  variety  of  measure,) 
were  regulated  by  the  pendulum,  the  results  would  be 
such  as  shall  be  presently  stated. 


Fame  I   7  7   I  Science  I  7  7 

A  /.        A  /.          A    /.         A  .'. 


Liberty  I  Spiritual  I  7 
A  .-.  /.      A  /./..-.     A 


are 


capable  of  ex-     citing  I  hope,  7  I  fear  1  7  7 


A 


77 
A  /.    |      A      /.  |  A  /.  |  A  /.      A/. 

If  a  pendulum  were  employed  to  measure  the  bars  of 
this  unmeaning  sentence,  the  word  "fame"  being  a  sylla- 
ble of  quantity,  might  be  prolonged,  so  as  to  occupy  two 
swings ;  the  remission  taking  place  in  the  latter  part  of 
the  word,  on  the  sound  of  the  m :  the  silent  bar  would 
consume  the  time  of  two  more ;  "  science"  that  of  the  two 
next;  the  silent  bar  the  time  of  the  following  two;  "li- 
berty" that  of  the  two  next;  "  spiritual"  that  of  the  suc- 
ceeding two  ;  the  rest  7  marked  in  the  next  bar,  would 
consume  the  time  of  one  swing,  the  word  " are"  in  that 
bar  the  other ;  the  measure  of  foe  syllables,  rapidly  utter- 
ed, might  be  crowded  into  the  time  of  the  next  two 
swings;  "hope"  again  would  take  the  time  of  a  single 
swing,  and  the  rest  7  following  it,  would  employ  the  time 
of  the  next ;  the  word  "fear"  might  be  made  by  quanti- 
ty to  occupy  the  two  remaining  swings.  In  this  experi- 
ment, the  integral  measures  would  be  the  same  in  dura- 
tion, while  their  quotional  parts  would  differ  from  one 
syllable,  to  five.  A  very  conspicuous  variety,  as  respects 
the  ear,  would  be  produced  by  the  number  and  rapidity 
of  the  syllabic  impulses  of  some  of  the  measures,  as  com- 
pared with  others.  We  are  now  prepared  for  a  definition 
of  syllabic  Rytlimus. 


MEASURE    OF    SPEECH.  131 

Rythmus  consists  in  an  arrangement  of  syllabic  mea- 
sures, distinguishable  by  the  ear,  divided  more  or  less  by 
pauses,  and  of  more  or  less  obvious  proportion  in  their 
periods  and  responses. 

Verse,  as  will  be  seen  presently,  is  made  of  a  regular 
succession  of  like  measures,  or  of  measures  of  so  limited 
a  variety,  and  so  divided  by  pauses,  into  proportioned 
parts,  as  to  present  sensible  responses  at  certain  intervals, 
to  tlie  ear. 

Measures  consisting,  for  the  most  part,  of  two  syllables, 
the  first  accented  or  heavy,  the  second  unaccented  or 
light,  make  up  what  is  called  common  time  poetry. 


"  Mortal 

A     /. 


nature 

A    /. 


lifts  her  I  changeful 


form.3 


A 


A     /.     I        A      .' 
The  rythmus  in  which  the  measure  of  three  syllables 
predominates  is  called  triple  time  poetry. 


Came  to  the  I  beach  a  poor 


exile  of 

A  /.  /. 


Erin. 
A  /. 


A      /.    /.     I       A     .'.     .' 

All  poetry  is  based  upon  one  of  these  two  measures. 
It  is  true,  indeed,  that  occasional  bars  are  occupied  oth- 
erwise than  by  measures  of  two  and  three  syllables.  Im- 
perfect measures  must  occur  :  rests  of  various  duration 
are  required,  and  sometimes  measures  are  composed  of 
a  different  number  of  syllables  from  the  standard.  The 
magic  of  the  poet's  art  consists  in  such  a  nice  adjustment 
of  these  quotional  parts,  both  as  respects  the  syllabic  im- 
pulses, and  the  impressive  rests,  as  shall  produce  agreea- 
ble variety,  without  disturbing  the  regular  mechanism  of 
his  verse :  and  a  large  portion  of  its  harmony  and 
smoothness  lies  in  the  management  of  this  department  of 
his  art. 

The  following  line  of  Dryden  is  in  common  measure, 


132 


GRAMMAR    OF    ELOCUTION. 


but  the  agreeable  flow  of  the  numbers  arises  from  the 
variety  of  the  syllabic  impulses  distributed  through  the 
bars,  and  the  peculiar  adjustment  of  the  rests. 
Arms  and  the  I  ] 

fate? 

A    /. 

The  following  lines  are  also  in  common  measure,  but 
every  one  feels  the  effect  of  the  rapidity  of  the  syllabic 
impulses  crowded  into  the  time  of  one  of  the  bars  of  the 
first  line. 
7  My  I  eye  des-  I  cending  from  the  I  hill  sur-  I  veys 

A    /.          A      .'.  A     /.       /.      /.         A     >.  '  \    A  /. 


[an  I 
A    .'. 

sing 

A/. 

77 
A  .'. 

Iwho7 
A    /. 

forced  by 

A       /. 

7  Where 

A 


Thames  a- 


mong  the 


wanton 


vallies 


strays. 

A   .'. 


The  poetry  which  preceded  the  revolution  of  1688, 
is  superior  in  its  rythm,  as  well  as  in  fire  and  comprehen- 
sion, to  that  which  followed,  with  perhaps  two  exceptions; 
the  blank  verse  of  Milton,  and  the  finer  parts  of  Dryden. 
This  latter  poet  has  much  greater  variety  in  the  mechan- 
ism of  his  verse,  than  Pope  and  his  imitators.  The  finest 
lines  of  Pope,  are  those  in  which  he  has  disregarded 
the  finger  counting  prosody,  by  which  he  seems  to 
have  been  habitually  regulated ;  and  which  substituted, 
the  consideration  of  the  number  of  syllables  in  a  line,  for 
that  of  the  structure  of  the  measures.  Much  of  the  po- 
etry of  his  time,  and  which  followed  it,  is  well  described 
in  the  following  lines  of  its  great  projenitor  himself. 

Grove  nods  to  grove, each  alley  has  its  brother; 
And  half  the  platform  just  reflects  the  other. 

He  might  have  found  the  promptings  to  a  higher  strain, 


MEASURE    OF    SPEECH.  133 

in  the  spirit  of  some  other  lines  of  his,  which  truly  de- 
scribe the  versification  of  some  of  the  great  masters  of 
song  who  preceded  him. 

"  Where  order  in  variety  we  see, 

And  where  though  all  things  differ,  all  agree." 

Of  all  our  poets,  Shakspeare  and  Milton  are  the  most 
distinguished  for  the  happy  mechanism  of  their  verse.  In 
their  free  use  of  quantity,  in  the  variety  of  the  syllabic 
impulses  of  their  measures,  and  in  the  adjustment  of  their 
pauses,  they  ring  every  change  of  rythm  of  which  the 
language  is  susceptible;  undulating  through  each  de- 
scription of  measure,  from  the  long  drawn  time  of  a  single 
syllable,  to  that  of  four,  and  in  an  order  that  ever  charms 
the  ear. 

"  In  notes  with  many  a  winding  bout 
Of  linked  sweetness  well  drawn  out, 
With  wanton  heed,  and  giddy  cunning, 
The  melting  voice  through  mazes  running; 
Untwisting  all  the  chains  that  tie 
The  hidden  soul  of  Harmony." 

V  Allegro. 

The  scored  extracts  contained  in  this  Grammar,  will 
display  to  the  eye  the  variety  of  the  rythm  which  distin- 
guishes the  verse  of  these  great  masters  of  the  lyre :  but 
it  must  be  read  as  it  is  scored  in  order  to  do  them  "fair 
justice  ;"  to  show  how  appropriate  a  vehicle  it  is,  for  the 
glorious  thoughts  and  images  which  it  conveys,  or  rather 
which  "voluntary  move"  its  "  harmonious  numbers." 

The  most  perfect  measures  are  those  occupied  by  two 
or  three  syllables ;  and  which  may  be  called  common  or 
triple  measures.  The  measure  next  in  the  order  of  pre- 
12 


I 
134  GRAMMAR   OF    ELOCUTION. 

valence,  may  be  termed  emphatic ;  it  consists  of  a  single 
syllable,  so  protracted  in  quantity,  as  to  admit  in  its  pro- 
nunciation, of  the  accented  and  unaccented  function  of 
the  voice.  The  combined  stately  and  lyrical  effect  of 
much  of  Milton's  poetry,  depends  on  the  nice  adjustment 
of  these  respective  measures.  The  following  are  striking 
examples. 

Hail  I  holy  |  light  7   |  offspring  of  |  heaven  |  first  7 
A  /.  I  A  .-, 
born. 

A  /. 

Milton  frequently  uses  a  measure  of  four  syllables, 
which  may  be  called  the  accelerated  measure,  from  the 
rapidity  with  which  the  syllables  must  be  uttered,  to  be 
crowded  within  the  time  of  the  musical  bar. 

The  following  is  an  instance  of  great  variety,  with  the 
occasional  use  of  the  quadruple  measure. 

Rocks  7    I    Caves  7  I   lakes  7   I   fens  7   I   bogs  7  1 

/.      /.     I        A       /.   I        A     /.    I       A    /.    I        A    /.    I 

dens  and  I  shades  of  I  death  I 

A      .'.     I       A       /.    I    A  /.    I 

7  A  I    universe  of  I    death  7  I   7  which  1  God  by  I 

A  .'.    I    A.'.    /.      /.     I        A     /.    I    A      /.  A      /.    I 

curse 

A  .-. 

7  Cre-  1  ated  I   evil   I   7  7  I   7  for   I    evil   I    only 
A      .'.     I  A .'.    I  A  /.    I    A .-.  I  A    .-.     I   A  /.    I    A  /. 

good;  7 

A 

7 Where  I  aU  I  Iife7  I  dies?  I  77  I  death?  I  lives? 

A      .%       I  A.'.  I    A  /.  I     A  .'.  I  A/.  I     A     /.  I     A   /. 

7  and  I  nature  I  breeds  7  I 
A  .-.   I  .-.  /.          A     /. 


MEASURE    OF    SPEECH. 


135 


7  Per- 

A   /. 


verse,  7 
|  A  .% 
digious 

A     /. 


all 

.  |  A.'. 
things; 

A 


monstrous 

A      .'. 


all  pro- 

A     .'. 


7A- 

A  .'. 


bominable 

A  /.  /.  .'. 


7  un- 
A  .'. 


utterable 

A  /.  /.  /. 


7  and 

A    .'. 


7  Than 

A      /. 


77 
A/. 


fables 

A  /. 

ceived  7 

A      /. 

Gorgons  and 

A      /.      /. 

dire.  7 

A 


yet  have 

A 


Hydras 
A     .'. 

77 

A  .' 


feigned  or 


worse 

A    /. 


fear  con- 

A      .-. 


7  and  Chi- 

A    /.      /. 


meras 

A  /. 


Milton  and  Shakspeare  frequently  interpose  a  syllable 
in  their  lines,  above  the  authorized  number ;  thus, 

"  Hov-e-rinor  a  space,  till  winds  the  signal  blow, 
Who  durst  defy  th-e  Omnipotent  to  arms, 
To  beg  the  voice  and  utt-e-rance  of  my  tongue  ? 
Abom-i-nable,  unutt-er-able,  and  worse,"  etc. 

This  grace  note  of  the  line,  which  makes  an  essential 
part  of  the  musical  bar,  without  disturbance  to  the  mea- 
sure, and  with  an  increase  of  the  general  harmony,  some 
finger  counting  critics,  strike  out  by  erision,  to  show,  I 
suppose,  that  they  understand  measure  better  than  did 
the  poet.  In  the  editions  of  these  sage  revisers,  the  lines 
would  stand  thus ; 

"  Ifow'-ring  a  space,  etc., 

Who  durst  defy  tfi'om-nipotent  to  arms, 

To  beg  the  voice  and  u«'-rance,"  etc. 

Whoever  has  opportunity  of  inspecting  the  old  editions 
of  our  great  bards,  will  find  that  their  nearer  presence 


136  GRAMMAR    OF    ELOCUTION. 

prevented  the  commission  of  these  barbarities  upon  their 
verse.  The  knowing  personages  above  mentioned,  had 
better  be  told  once  for  all,  that  the  lines  cannot  be  har- 
moniously read  upon  the  principle  of  their  elision :  they 
are  therefore  earnestly  besought,  in  future  to  betake 
themselves  to  other  amusement,  than  that  of  deforming 
the  fair  pages  of  English  poetry,  to  the  great  annoyance 
of  all  ears  but  such  as  their  own. 

The  measure  of  five  syllables  is  almost  always  incon- 
venient in  utterance,  and  should  be  broken  up,  by  a  rest, 
into  two  portions.  The  |  voice  |  7  is  in-  I  capable  of 

I  A  /.  .'.    /. 

sus-  I  taining  it  |  7  with  ag-  |  reeable  |  effect. 

Neither  Milton  nor  Shakspeare,  ever  employ  a  mea- 
sure of  more  than  four  syllables :  and  this  must,  necessa- 
rily, be  greatly  accelerated. 

It  will  be  seen,  that  many  of  the  lines  of  English  verse 
begin  with  an  imperfect  measure,  as  the  musical  line 
does:  but  as  every  measure  is  supposed  perfect,  the 
part  that  is  wanting,  is  always  indicated  by  the  rest,  in 
order  that  the  principle  of  the  theory  may  be  maintained 
throughout.  Another  important  fact  connected  with  the 
measure,  requires  to  be  stated.  It  is,  that  in  order  to 
produce  harmonious  succession,  the  voice  must  percepti- 
bly move  from  the  heavy  to  the  light  syllable,  and  not 
from  the  light  to  the  heavy  one.  This  movement  pre- 
vails in  music,  and  it  is  equally  necessary  in  speech. 
The  heavy  syllable  always  begins  the  bar,  in  the  order  of 
the  movement,  or  the  exceptions  are  accounted  for  by  the 
mark  7,  and  the  principle  of  the  theory  is  thus  main- 
tained. 


MEASURE    OF    SPEECH.  137 

The  scoring  in  the  exercises,  will  demonstrate  the 
same  necessity  for  measure  in  prose,  as  in  verse  ;  the 
only  difference  in  the  mechanism  of  the  two,  consists 
in  the  more  frequent  changes  in  the  quotional  parts  of  the 
measures  of  prose,  and  in  the  absence  of  the  regular  re- 
sponses which  are  found  in  verse.  We  have  here  en- 
deavoured to  demonstrate  the  true  principles  of  English 
prosody.  If  we  are  not  mistaken,  such  a  view  as  we 
have  presented  of  measure,  in  what  has  been  already  said, 
will  throw  some  light  both  on  composition  and  delivery. 
One  of  the  most  effectual  methods  of  impressing  a  just 
prosody  upon  the  ear,  is  by  teaching  the  art  of  reading. 
The  prosody  makes  an  essential  part  of  the  tune  of 
speech,  if  we  may  be  allowed  the  term,  and  in  its  proso- 
dial  arrangement,  lies  one  half  of  its  charm.  The  me- 
chanism of  good  composition,  consists  in  the  happy  ad- 
justment of  quantity  and  accent,  subject  to  a  varied  and 
harmonious  measure  ;  and  over  these  the  ear  presides. 

To  teach  reading,  on  the  principle  of  a  just  prosody, 
is  to  teach  writing  at  the  same  time,  as  far  as  its  mechan- 
ism is  concerned.  We  have  therefore  deemed  it  proper 
to  present  a  series  of  rythmical  copies  for  the  use  of 
students,  calculated  to  form  their,  ear  and  voice  upon  the 
principles  of  prosody  we  have  explained. 

But  this  is  not  all ;  the  preservation  of  health  and  life 
is  often  suspended  on  the  habits  of  a  speaker  with  regard 
to  measure.  A  speaker  who  preserves  his  measure,  will 
never  be  inconvenienced  for  want  of  breath,  and  will,  by 
favor  of  that  circumstance,  always  be  able  to  employ 
force  where  it  is  wanted,  with  full  effect ;  and  what  is 
more,  with  safety  to  his  health.  On  this  account  also,  I 
have  deemed  it  necessary  to  present  in  this  work,  such  a 

12* 


138  GRAMMAR    OF    ELOCUTION. 

series  of  scored  exercises  as  may  form  the  habit  of  read- 
ing and  speaking  by  measure.  They  are  sufficiently  nu- 
merous for  that  purpose,  if  the  pupil  exercises  his  own 
ear  by  scoring  the  pieces  in  another  book,  by  way  of 
practice,  and  then  compares  what  he  has  done  with  what 
is  to  be  found  here. 

But  the  importance  of  measure  as  regards  the  health 
and  safety  of  persons  devoted  to  public  speaking,  deserves 
a  separate  and  more  particular  consideration.     As  we 
before  observed,  the  larynx  performs  the  double  function 
of  an  organ  subservient  to  respiration,  and  to  speech. 
During  the  emission  of  sound  in  the  latter,  inspiration 
cannot  take  place.     Hence  discourse  must  be  broken  up 
into  portions.     A  very  little  attention  will  enable  a  person 
to  perceive  that  pauses  occur  much  oftener  than  is  indi- 
cated by  the  common  marks  of  punctuation.     The  me- 
thod of  notation  adopted  in  the  Exercises,  is  intended  to 
show  that  the  beginning  and  end  of  a  measure  is  the  be- 
ginning and  end  of  one  effort  of  the  larynx,  and  that  all 
the  pauses  indicated  by  the  mark  7,  are  to  be  observed 
in  delivery.     The  pauses  make  an  essential  part  of  the 
measures.     To  prove  the  importance  of  observing  these 
in  delivery,  let  a  person  read  with  considerable  force  one 
of  the  pieces,  say  Henry's  address  to  his  troops  before 
the  gates  of  Harfleur,  with  a  frequent  neglect  of  the  rests 
indicated  by  the  mark  7,  he  will  frequently  find  himself 
out  of  breath.     Let  him  then  read  it,  observing  the  no- 
tation, with  as  much  force  as  he  can  command,  and  with 
a  quick  measure,  such  as  the  piece  requires,  and  he  will 
find  that  no  inconvenience  with  regard  to  respiration,  will 
occur.     A  few  physiological  considerations  will  account 
for  these  facts. 


MEASUilE    OF    SPEECH.\v    /*  139 

It  is  to  be  recollected  that  by  the  measured  action  of 
the  heart,  a  certain  quantity  of  blood  is  brought  at  each 
pulsation  of  the  heart  to  the  lungs,  for  the  purpose  of 
coming  into  contact  with  the  inspired  air,  received  through 
the  larynx.  The  moving  powers,  external  to  the  chest, 
together  with  the  intercostal  muscles,  elevate  and  de- 
press the  chest  by  alternate  actions,  so  regulated  as  to 
correspond  with  the  action  of  the  heart,  and  consequent- 
ly with  the  flow  of  blood  to  the  lungs.  But  as  during 
speech,  there  can  be  no  inspiration,  speech  must  be  so 
regulated,  as  not  to  interfere  with  the  functions  described, 
or  it  must  be,  in  proportion  to  its  interference,  injurious  to 
respiration  and  health.  Now  the  fact  turns  out  to  be, 
that  if  speech  is  regulated  by  measure,  no  impediment  is 
offered  to  the  process  of  respiration,  and  that  fact  is  pro- 
ved by  the  circumstance,  which  I  here  announce  without 
fear  of  contradiction,  and  subject  to  experiment,  namely, 
that  if  the  pauses  marked  out  by  the  scoring,  are  regular- 
ly observed,  there  never  will  be  any  inconvenience  expe- 
rienced from  want  of  breath  :  that  elocution,  if  conducted 
on  the  principles  of  the  prosody  here  explained,  and  fully 
set  forth  in  the  exercises,  will  be  found  (where  no  actual 
disease  exists  in  the  lungs,)  a  healthful  and  invigorating 
exercise. 

If  this  is  true,  it  demonstrates  that  the  measure  of 
speech,  originates  in  the  measured  action  of  the  heart, 
and  of  the  moving  powers  of  the  chest.  Speech  and 
circulation  are  sometimes  to  go  on  for  a  considerable 
length  of  time  together,  and  the  action  of  the  larynx  is 
directly  related  to  the  times  of  the  return  of  the  blood 
from  the  heart  to  the  lungs,  in  other  words  to  the  circu- 
lating powers.  The  Prosody,  here  explained,  ascertains 


140  GRAMMAR    OF    ELOCUTION..* 

and  shews  the  laws  of  that  action.  Their  effect  is  to 
produce  such  a  movement  of  the  organ  of  voice,  as  shall 
not  disturb  the  influx  and  efflux  of  air  required,  at  sta- 
ted intervals,  to  renovate  the  vital  fluid. 

If  these  principles  of  physiology  are  sound,  as  I  am 
persuaded  they  are,  then,  it  is  of  great  importance  that 
the  method  of  teaching  reading  and  public  speaking,  here 
insisted  upon,  be  adopted  :  not  merely  because  a  correct 
prosody  is  graceful  and  harmonious,  but  because,  the 
observation  of  measure  in  speech  is  necessary  to  the  ex- 
ercise of  its  functions  with  safety  to  the  health,  and  often 
to  the  lives,  of  those  who  follow  it  as  a  profession.  If  I 
might  venture  to  refer  to  personal  experience,  I  might 
say  that  it  is  a  matter  of  surprise  to  my  acquaintance,  that 
I  am  able  to  endure,  without  destruction  of  health,  the 
amount  of  forcible  speaking  which  I  daily  practice,  but 
perhaps,  the  preceding  observations  may  account  for  it  in 
a  satisfactory  manner. 

The  law  of  speech,  which  I  have  here  explained,  is 
one  of  a  series  of  laws,  bearing  a  common  relation  to 
one  another,  and  to  the  vital  functions  of  the  body.  It 
will  be  found,  in  addition  to  the  facts  already  stated,  that 
the  pauses  which  are  marked  out  in  the  exercises,  cannot 
be  neglected  without  injury  to  the  harmony  and  the  sense. 
In  other  words,  that  speaking  which  is  regulated  by 
measure,  and  the  consequent  exact  observation  of  the 
rests,  is  most  agreeable  and  most  intelligible.  If  a  fre- 
quent omission  of  pauses  is  made,  the  sense  will  be  invol- 
ved in  obscurity.  Here  too,  we  see  the  beautiful  result 
of  those  related  laws  of  the  living  system,  by  the  com- 
bined effect  of  which,  a  series  of  different,  complicated 
and  often  apparently  interfering  functions,  proceed  for  the 


MEASURE    OF    SPEECH.  141 

benefit  of  the  whole  system.  Measure  is  most  easy  to 
the  speaker;  by  a  beautiful  law  of  relation  it  constitutes 
a  prosody  grateful  to  the  hearer  ;  but  the  sensorial  func- 
tions (what  they  are  we  pretend  not  to  divine)  are  in 
their  turn  related  to  the  vital  ones ;  for  the  speaking 
which  is  easy  and  harmonious,  is  also  most  intelligible. 
The  pauses  which  are  required  for  easy  respiration,  for 
the  harmonious  flow  that  delights  the  ear,  disentangle  the 
sense  and  enable  the  mind  to  perceive  the  relations  of 
thought  with  facility  and  clearness.  But  there  are  ob- 
jectors, we  may  be  sure,  who  will  urge,  that  if  this  sys- 
tem were  true,  it  would  be  natural  to  speak  in  perfect 
measure.  All  persons  who  speak  agreeably  and  smooth- 
ly, and  we  now  and  then  hear  such,  do  speak  for  the 
most  part  by  measure.  But  we  admit,  most  do  not ;  and 
we  assert  that  all  who  do  not,  speak  with  great  inconven- 
ience and  exhaustion  to  themselves.  We  maintain 
against  all  the  admirers  of  natural  faults,  and  the  decri- 
ers  of  artificial  excellence,  that  it  is  not  natural  to  do  any 
thing  well,  which  is  liable  to  disturbance,  from  ignorance, 
and  the  irregularity  of  the  will,  and,  consequently,  from 
faulty  habits.  The  action  of  the  organ  of  voice  is  vol- 
untary, but  the  circulation  is  not,  hence  the  one  is  liable 
to  disturbance  from  the  causes  just  stated,  which  is  not 
the  case  with  the  other.  Simplicity  in  thought  and  ex- 
pression is  not  natural.  The  power  of  saying  just  what 
is  proper  in  an  argument  and  no  more,  is  not  natural ; 
ease  and  grace  of  execution  in  any  art,  is  not  natural ; 
the  art  of  speech  among  the  number.  The  fine  arts  do 
not  look  to  what  is  natural  but  to  what  is  agreeable. 
Their  principle  is  founded  on  the  approbation  of  taste, 
not  on  the  habits  of  the  multitude.  In  all  matters  where 


142  GRAMMAR   OF    ELOCUTION. 

choice  is  exercised  it  is  not  the  concern  of  philosophy  to 
defend  what  w,  but  to  shew  what  ought  to  be. 

We  invite  the  reader  to  go  into  a  school  of  young  per- 
sons with  this  grammar  in  his  hand ;  let  them  be  called 
upon  to  read  some  of  the  pieces  it  contains,  out  of  an- 
other book.  He  will  soon  be  made  sensible  of  the  im- 
portance of  marking  the  accent  and  pauses,  by  the  frequent 
violations  of  them,  which  he  will  instantly  hear.  He  will 
see  how  important  they  are  as  fundamental  points,  in  the 
art  of  reading,  to  easy,  harmonious,  and  intelligible  de- 
livery. The  habit  of  reading  with  attention  to  them,  is 
very  rare,  though  health,  ease  of  speaking,  and  a  clear 
picture  of  the  sense  of  what  is  read,  require  it.  We 
therefore,  have  thought  it  best  to  teach  the  mode  of  read- 
ing, as  writing  is  taught,  by  "  setting  copies"  for  the  pu- 
pil. Those  copies  will  enable  him,  if  he  is  attentive,  to 
score  for  himself;  they  will  fix  the  habit  of  right  reading, 
— a  habit  he  will  never  lose — and  which  will  be  found  of 
immense  importance  to  future  health  and  comfort.* 


QUESTIONS    TO    RECITATION    ELEVENTH. 

1 .  What  constitutes  a  measure  in  speech  ? 

2.  What  is  meant  by  an  imperfect  measure  ? 


*  Some  years  ago  I  published  a  book  of  scored  exercises  ;  2000 
copies  were  sold.  I  am  assured  by  numerous  Teachers  in  Philadel- 
phia, who  have  used  them,  that  they  have  led  to  a  great  reforma- 
tion in  the  reading  of  their  schools.  They  compel  young  persons 
to  read  deliberately,  and  mind  their  stops. 


MEASURE  OF  SPEECH.  143 

3.  Demonstrate  with  the  voice  the  measure  of  a  sin- 
gle syllable. 

4.  One  of  two  syllables. 

5.  One  of  three. 

6.  One  of  four. 

7.  One  of  five. 

8.  What  is  the  greatest  number  of  syllables  which  can 
be  crowded  into  a  measure  ? 

9.  How  is  rythmus  defined  ? 

10.  What  are  the  measures  on  which  verse  is  based? 

11.  How  is  verse  distinguished  from  prose 3 

12.  What  constitutes  an  agreeable  rythm  ? 

13.  The  student  is  required  to  score  the  first  section 
of  the  apostrophe  to  the  Queen  of  France,  Elocutionist, 
page  12,  and  the  three  sections  of  Gray's  Elegy,  Elocu- 
tionist, page  260. 


RECITATION  TWELFTH. 


EMPHASIS. 

HAVING  now  given  an  account  of  the  elements  of 
speech,  which  may  be  called  the  working  materials  of 
the  reader  and  speaker,  we  proceed  to  show  their  appli- 
cation, in  expressing  in  a  forcible  manner,  the  sentiments 
and  emotions  of  the  mind.     Nothing  will  demonstrate 
more  clearly,  the  importance  of  elementary  investigation, 
than  the  fact,  that  all  those  powers  of  the  voice  which  it 
has  enabled  us  to  record,  are  employed  in  emphasis : 
sometimes  singly,  but  oftener  in  combination:   for  we 
must  here  observe,  that  though  in  describing  the  separate 
powers,  we  speak  of  them  as  such,  yet  in  the  expression 
of  our  sentiments,  they  are  almost  always  combined. 
There  is  a  natural  tendency  to  crowd  elements  together 
when  words  are  employed  emphatically.     They  are, 
then,  frequently,  the  symbols  of  our  feelings,  and  the  dif- 
ferent functions  of  the  voice  are  summoned,  not  in  the 
order  we  have  described  them,  but  in  every  possible 
combination,  in  order  to  give  utterance  to  those  feelings. 
We  shall  speak,  however,  in  the  first  place,  of  the  effects 
of  the  different  elements  separately,  in  producing  em- 
phasis. 

Emphasis  is  that  employment  of  the  voice  by  which 
some  syllables,  and  consequently  the  words  which  they 
constitute,  or  of  which  they  make  a  part,  are  rendered 
specially  impressive,  by  means  of  increased  stress,  pe- 
culiar quality  of  voice,  quantity,  or  change  of  pitch,  or  by 


EMPHASIS.  145 

the  combination  of  any  two  or  more  of  these.  We  shall 
not,  in  this  Recitation,  discuss  the  application  of  empha- 
sis, but  only  show  the  ways  by  which  it  is  accomplished. 
A  perception  of  the  grammatical  construction  of  a  pas- 
sage, of  its  special  meaning,  of  the  kind  and  amount  of 
feeling  it  is  intended  to  convey ;  in  a  word,  of  the  rela- 
tions of  thought  in  the  author's  mind,  are  the  circumstan- 
ces which  must  regulate  the  application  of  emphasis  to 
syllables,  words,  and  portions  of  sentences.  Precise 
rules  cannot  be  laid  down  for  this.  We  can  only  recom- 
mend a  nice  and  rigid  analysis  of  the  import  of  what  is 
read,  in  order  that  emphasis  may  be  employed  with  cor- 
rectness. 

Emphasis  of  radical  stress — so  denominated  by  Dr. 
Rush,  Phil.  Hum.  Voice.  It  is  effected  by  giving  mark- 
ed percussion  to  the  utterance  of  those  syllables  which  re- 
quire its  use.  It  expresses  a  variety  of  emotions,  according 
to  the  tenor  of  the  subject.  It  is  appropriate  to  anger, 
wrath,  rage ;  also  to  mirth,  raillery,  positiveness  of  con- 
viction, confidence,  exultation,  joy,  courage,  authority, 
command,  and  to  all  states  of  violent  feeling.  A  change 
in  radical  and  concrete  pitch,  and  short  quantity,  are  ge- 
nerally required  with  this  kind  of  emphasis. 

The  following  are  examples.  The  syllables  are  itali- 
cised on  which  the  percussion  is  most  strongly  made. 

EXAMPLE    1. 

"  Whence  and  what  art  thou,  e.r-ecrable  shape?" 

Milton. 

The  speeches  both  of  Satan  and  Death,  are  marked 
by  a  high  degree  of  radical  stress.  See  Elocutionist, 
page  341,  sect.  7,  8,  9. 

13 


146  GRAMMAR  OF  ELOCUTION. 

EXAMPLE  2. 

fct  And  ?-ec&-onest  thou  thyself  with  spirits  of  heaven,  hell 
downed  ? 

"  Sir,  I,  in  the  most  express  terms,  deny  the  comp- 
etency of  parliament  to  do  this  act." 

In  this  example,  the  voice  adopts  a  falling  slide,  to  in- 
crease the  positiveness  and  antithetic  expression  of  the 
syllable  "  comp,"  and  thus  adds  to  its  emphasis. 

The  following  sentence  will  show  a  series  of  emphatic 
words,  each  requiring  very  marked  percussion. 

"  Back  to  thy^M^-ishment 
False  /w-gitive,  and  to  thy  speed  add  wings." 

The  rise  of  a  radical  fifdi,  upon  the  word  "  back,"  the 
fall  of  a  fifth  on  "punishment"  a  rise  again  through  the 
same  interval  on  "false"  and  another  falling  fifth  on  "fu- 
gitive" will  greatly  enhance  the  emphatic  character  of 
the  words  above  cited.  The  word  "  add"  should  have 
a  high  note  with  downward  slide. 

Examples  of  emphasis  will  of  course,  if  read  with  pro- 
per expression,  generally  display  a  combination  of  ele- 
ments. For  purposes  of  illustration,  we  must  refer,  in 
the  respective  examples,  to  such  as  are  found  prominent- 
ly marked.  But  we  shall  mention  in  each  case,  the 
most  obvious  combinations ;  because  this  method,  if  not 
the  most  philosophical,  will  prove  the  most  instructive  to 
the  student. 

Where  strong  percussion  is  employed  to  emphasise  a 
word  or  words,  the  emphasis  is  often  enhanced  by  a  high 
note,  and  a  downward  slide. 

EXAMPLE    1. 

I  tell  you,  that  if,  circumstanced  as  you  are,  you  pass 


EMPHASIS.  147 

this  act,  it  will  b£  a  nullity,  and  that  no  man  in  Ireland 
will  be  bound  to  obey  it.     Elocutionist,  page  6. 

The  rise  in  the  note,  makes  a  more  lively  picture,  es- 
pecially as  contrasted  with  the  intense  downward  slide  : 
these  with  percussion,  emphasise  a  short  syllable  very 
powerfully ;  but  there  is  more  of  authoritative  dignity  in  a 
lower  pitch,  that  is,  in  simple  percussion,  without  rise  of 
note. 

EXAMPLE. 

Sir,  I  thank  administration  for  this  measure. 

The  confidence  here  expressed,  will  be  diminished  by 
a  rise  of  note  upon  the  word  "  thank." 

The  following  extract,  from  Collins'  Ode,  if  read  dra- 
matically, will  exhibit  the  radical  stress  upon  the  emphatic 
syllables. 

Last  came  Joy's  extatic  trial. 
He,  with  viny  crown  advancing, 
First  to  the  lively  pipe  his  hand  addressed ; 
But  soon  he  saw  the  brisk  awakening  viol, 
Whose  ,sweet  entrancing  voice  he  loved  the  best. 
They  would  have  thought,  who  heard  the  strain, 
They  saw,  in  Tempe's  vale,  her  native  maids, 
To  some  unwearied  minstrel  dancing ; 
While,  as  his  flying  fingers  kissed  the  strings, 
Love  framed  with  mirth,  a  gay  fantastic  round ; 
Loose  were  her  tresses  seen,  her  zone  unbound ; 
And  he,  amidst  his  frolic  play, 
As  if  he  would  the  charming  air  repay, 
Shook  thousand  odours  from  his  dewy  wings. 

Emphasis  of  median  force,  or  median  stress. 

IN  this  emphasis,  as  has  been  already  stated,  the  force 


148  GRAMMAR   OF    ELOCUTION. 

increases  upon  the  syllable  gradually  f  is  greatest  in  the 
middle,  and  then  gradually  declines  to  the  usual  vanish ; 
though  sometimes  the  force  increases  to  the  end  of  the 
syllable. 

This  emphasis  will  exalt  the  import  of  words  of  long 
quantity,  to  which,  it  is,  from  its  nature,  exclusively  appli- 
ed. It  is  most  appropriate  to  dignified  subjects ;  to  words 
which  convey  awful  warning,  smooth  insinuation,  reve- 
rential awe,  sublime  exultation,  the  lofty  but  chastised 
emotions  of  personal  and  religious  veneration,  of  sober 
enthusiasm,  joy,  hope,  and  surprise.  When  united  with 
the  downward  slide,  it  is  often  a  very  striking  emphasis. 

EXAMPLE    1. 

I  warn  you,  do  not  dare  to  lay  your  hand  on  the  con- 
stitution. 

EXAMPLE  2. 

"  We  praise  thee,  O  God,  we  acknowledge  thee  to  be 
the  Lord." 

EXAMPLE    3. 

Horatio.     He  was  a  goodly  king. 
Hamlet.      He  was  a  man. 

In  this  example,  the  word  man  has  a  strong  falling 
slide. 

Juliet.     Oh  swoar  not  by  the  moon,  the  inconstant  moon, 
That  monthly  chang-es  in  her  circled  orb. 

"  We  know  what  we  worship,  for  salvation  is  of  the 
Jews." 

"  And  Nathan  said  unto.  David,  Thou  art  the  man," 


EMPHASIS.  149 

The  smoothness  of  flattery  cannot  now  avail :  cannot 
nave  us  in  this  rugged  and  awful  crisis. 

Emphasis  applied  at  the  vanish  of  a  syllable,  or  em- 
phasis of  vanishing  stress. — This  and  the  compound 
stress,  need  not  be  disunited  in  our  illustrations.  They 
express  ardent  impatience,  angry  complaint,  threatening 
vengeance,  and  earnest  interrogation. 

Compound  stress. — Arm,  warriors,  arm  for  fight 
Vanishing.     Cassius. — /  an  itching  palm  ? 

You  know  that  you  are  Brutus  that  speak  this, 
Or  by  the  Gods,  this  speech  were  e.lse  your  last. 

Brutus.     The  name  of  Cassius  honors  this  corruption, 

And  chastisement  does  therefore  hide  its  head. 

Cassius.    Ctaw-tisement ! 

Brutus.    Must  I  give  way  to  your  rash  choler  t 

Must  I  be  frighted  when  a  mad-man  stares  ? 

Cassius.    O  ye  God*,  ye  Gods,  must  I  endure  all  this  ? 

The  first  and  last  of  these  examples,  are  given  by  Dr. 
Rush,  in  his  Philosophy  of  the  Human  Voice. 

Hamlet.     Saw  who  ? 

Horatio.    My  lord,  the  king,  your/a-ther. 
Hamlet.     The  king  my^/a-ther  ? 
Hamlet.    'Tis  /,  Ham-let,  the  Dane. 

This  last,  is,  I  think,  an  example  of  compound  stress. 

The  following,  I  think  will  best  read  with  a  mixture  of 
radical  and  compound  stress. 

"The  game's  &foot; 
Pol-lew  your  spirit,  and  upon  this  charge, 
Cry  God  for  ffor-ry,  £«g-J-and,  and  Saint  George/' 
13* 


150  GRAMMAR    OF    ELOCUTION. 

Emphasis  of  quantity. — A  very  extended  time  given 
to  words,  exalts  their  import.  It  is  applicable  only  to 
syllables  of  long  quantity,  and  to  dignified  and  pathetic 
subjects.  It  describes  time,  quality,  and  the  properties 
of  things  generally. 

The  following  are  conspicuous  examples  of  quantity. 

"  Nine  times  the  space  that  measures  day  and  night, 
To  mortal  men,  he  with  his  horrid  crew 
Lay  vanquished." 

"  But  his  doom 
Reserved  him  to  more  wrath." 

Better  to  reign  in  hell,  than  serve  in  heaven. 

"  Darkened  so,  yet  shone 
Above  them  all,  the  arch-an-gel." 

"  Or  of  the  eternal  co-eternal  beam  ; 
This  knows  my  punisher." 

In  thy  sight  shall  no  man  living  be  justified. 

Sometimes  this  long  quantity  is  united  with  the  semi- 
tone ;  the  following  are  examples. 

'•  Spare  thou  those,  O  God,  who  confess  their  faults." 
"  Res-tore  thou  them  that  are  penitent." 

The  whole  of  these  two  last  sentences  require  a  plain- 
tive movement ;  but  the  words  marked  in  italics,  require 
a  great  deal  of  quantity  to  distinguish  them  from  the 
others. 

Emphasis  of  pitch. — Words  receive  emphasis  by  dif- 
fering in  their  concrete  and  radical  pitch,  from  other 
words  which  accompany  them. 


EMPHASIS.  151 

Slide  of  the  rising  octave. — This  is  employed  in  In- 
terrogation, of  the  most  piercing  and  earnest  kind ;  and  also 
when  a  question  is  accompanied  with  strong  sneer,  with 
raillery,  and  mirthful  banter.  The  following  are  instances. 

Shylock.    What  should  I  say  to  you,  should  I  not  say 
Hath  a  dog  money  ?    Is  it  possible 
A  cur  can  lend  three  thousand  ducats  ? 

The  last  quoted,  is  a  fine  example,  and  is  given  by 
Dr.  Rush,  Philosophy  of  the  Human  Voice. 

Falstaff.    A  king's  son  ?     You,  Prince  of  Wales  ? 

Discrete  rising  octave. 

"  So  frowned  the  mighty  combatants,  that  hell 
Grew  darker  at  their  frown,  so  matched  they  stood." 

This  interval  should  be  heard  on  the  word  "matched" 
in  the  dramatic  reading,  or  public  declamation  of  this 
piece.  Elocutionist,  page  344,  sect.  12. 

Rising  concrete  5th." — This  is  employed  in  earnest  in- 
terrogation and  emphasis. 

EXAMPLE. 

Hamlet.     Saw  who  ? 

Horatio.    My  lord,  the  king,  your  father  ? 

Hamlat.     The  king,  myyh-ther  ? 

Rising  radical  5th. 

EXAMPLES. 

"  And  shouted  but  once  more  aloud, 
My  Father!  must  I  stay?" 

Elocutionist,  page  289,  sect.  7. 


152  GRAMMAR    OF    ELOCUTION. 

"  Is  there,  as  you  sometimes  tell  us, 

/*  there  one  who  reigns  on  high  ? 
Has  he  bid  you  buy  and  sell  us, 

Speaking  from  his  throne,  the  sky  ?'; 

Elocutionist, page  306,  sect.  4. 

"  He  woke  to  hear  his  sentry's  shriek, 

To  arms !  they  come  !  The  Greek  !    The  Greek !" 

Elocutionist,  page  308,  sect.  3. 

Rising  concrete  and  radical  third. — The  rising  con- 
crete third,  is  appropriate  to  that  kind  of  interrogation 
employed  for  the  mere  purpose  of  information.  It  is 
also  employed  for  emphasis  and  especially  for  the  pur- 
pose of  marking  emphatic  words  which  are  conditional 
and  concessive. 

Concrete. 

"  What,  looked  he  /rotcn-ingly  ? 
His  beard  was  grizzled  ?" 

Radical. 

"  If  thou  hadst  known  the  gift  of  God, 

And  who  it  is  that  saith  to  thee,  give  me  to  drink,"  etc. 

The  words  in  the  last  example,  marked  in  italics,  are, 
as  may  be  seen,  conditional,  and  require,  for  empha- 
sis, to  be  raised  a  third  in  radical  pitch. 


EMPHASIS  OF  THE  DOWNWARD  SLIDE  AND  OF  DOWNWARD 
RADICAL  PITCH. 

A  command  over  the  downward  slide,  and  over  the 
downward  radical  movements,  is  of  the  utmost  importance 
to  all  who  wish  to  read  or  speak  with  effect.  In  the  first 
place  the  downward  movements  of  the  voice  are  in  them- 


EMPHASIS.  153 

selves  very  expressive  :  besides  which  a  ready  use  of 
them  enables  a  speaker  to  avoid  the  monotony  of  a 
constant  or  too  frequent  rise  in  his  emphatic  words.  This 
is  a  very  common  fault  of  delivery. 

The  falling  slide  marks  exclusive  emphasis.  It  insu- 
lates a  word  from  the  rest  of  the  sentence,  and  sets  it  in 
a  more  prominent  and  imposing  point  of  view  than  any 
other  modification  of  pitch.  It  expresses  strong  convic- 
tion— is  required  in  positive  assertion,  in  denunciation, 
in  the  expression  of  indignation,  and  indignant  resolve, 
and  is  peculiarly  proper  in  all  cases  where  solemnity  is 
combined  with  emphasis.  The  intensity  of  the  down- 
ward slide  differs  in  the  various  forms  of  an  octave  a 
fifth  and  a  third,  concrete  and  discrete. 

The  following  example  will  show  the  downward  slide 
of  the  voice,  in  different  degrees  of  intensity.  The 
first  word  marked  in  italics  is  to  be  made  a  downward 
third — the  next  may  be  a  fifth,  and  the  climax  may  be 
completed  upon  the  word  "  there"  by  the  most  intense 
form  of  the  downward  slide,  that  of  an  octave. 

"  If  I  ascend  into  Heaven  thou  art  there  ;  if  I  make 
my  bed  in  Hell,  behold  thou  art  there ;  if  I  take  the 
wings  of  the  morning  and  dwell  in  the  uttermost  parts  of 
the  sea,  ev-en  there,  shall  thy  hand  lead  me  and  thy  right 
hand  shall  hold  me." 

It  will  be  necessary  first  to  elevate  the  voice  upon  the 
word  "  there,"  in  order  to  carry  the  slide  low  enough  to 
exhibit  its  intensest  form. 

Emphasis  of  the  downward  concrete  fifth.  "  /  am 
the  resurrection  and  the  life." 

"  And  Nathan  said  unto  David,  Thou  art  the  man." 


154  GRAMMAR    OF    ELOCUTION. 

Discrete.     Army  of  fiends^  body  to  fa  head. 

Sarcasm  can  always  be  expressed  upon  a  succession 
of  short  syllables  by  alternate  rising  and  falling  radical 
fifths  combined  with  stress.  Where  it  becomes  necessa- 
ry to  express  a  sneer  and  the  syllables  are  too  short  for  the 
slide  of  the  unequal  wave,  the  discrete  fifths  fulfil  its  of- 
fice, as  they  do  in  this  last  example.  Let  the  first  "fit" 
descend  a  fifth  in  radical  pitch  below  "  body"  and  "  head" 
a  fifth  below  the  second  "fit"  and  the  effect  we  contem- 
plate will  be  produced. 

Falling  concrete  third.  •'  I  am  amazed,  yes  my 
Lords,  I  am  amazed  at  his  Grace's  speech." 

Discrete  falling  third.  "  He  that  believeth  in  me, 
though  he  were  dead,  yet  shall  he  live."  "  Believest 
thou  this  ?"  The  "  this"  descends  a  third  for  emphasis, 
and  ends  with  a  rising  slide. 

"  Ye  know  not  what  ye  worship,  We  know  what  we 
worship." 

The  following  is  an  example  of  variety  in  emphasis. 
The  syllables  intended  to  be  specified  are  in  italics. 

1.  Are  they  .He-brews?  So  am  I. 

2.  Are  they  Js-raelites  ?  So  am  I. 

3.  Are  they  the  seed  of  ./26-raham  ?  So  am  I. 

4.  Are  they  Ministers  of  Christ  ?  I  am  more. 
Let  No.  1  rise  both  discretely  and  concretely. 

"         2  fall  discretely  and  rise  concretely. 
"         3  fall  concretely  a  third. 
"        4  rise  higher  than  the  last  discretely,  and  fall 
concretely  with  stress. 


EMPHASIS.  155 

Emphasis  of  waves.  Waves  are  used  only  where 
quantity  is  required  with  marked  emphasis. 

Equal  direct  wave  of  the  third. 

"  Upon  the  watery  plain  the  wrecks  are  all  thy  deed. 

Equal  direct  wave  of  the  fifth. 

"  My  sect  them  seest."     Paradise  Lost,  book  6,  /.  147. 

Whoever  will  turn  to  the  passage,  will  find  that  the  ex- 
ulting triumph  is  best  expressed,  by  the  long  drawn 
time  of  this  emphatic  wave. 

The  unequal  direct  waves  are  marked  in  italics,  in  the 
following  passage. 

"  National  pride,  independence  of  our  country — these 
we  are  told  by  the  minister,  are  only  vwZ-gar  topics,  fitted 
for  the  meridian  of  the  mob  ;  but  utterly  un-worthy  the 
consideration  of  this  house,  or  of  the  matured  under- 
standing of  the  noble  lord  who  condescends  to  instruct  it." 

Plunket. 

"  Hadst  thou  alleged  to  thy  deserted  host  this  cause  of 
flight,  thou  surely  hadst  not  come  sole  fugitive." 

Emphasis  of  the  tremor.  The  tremor  expresses  ex- 
ultation, admiration,  joy,  rapture,  when  united  with  other 
intervals  than  the  semitone.  When  combined  with  the  se- 
mitone, it  increases  its  effect. 

EXAMPLES. 

"  Thou  g-Jo-rious  mirror  where  the  Almighty's  form 
Glasses  itself  in  tempests." 

"  Now  give  the  Hautboy's  breath,  he  comes,  he  comes." 

"  And  where  is  the  bosom  friend,  dearer  than  all." 
This  last  example  requires  the  semitone. 
"  Shook  thousand  odors  from  his  dewy  wings." 


150  GRAMMAR   OF    ELOCCTION. 

Emphasis  of  Aspiration. 

EXAMPLES. 

Brutus.     Peace,  peace,  you  durst  not  so  have  tempted  him. 
Cassius.     I  durst  not ! 

Guttural  Emphasis.     An  example  may  be  found   in 
the  reply  of  Pierre  to  Jaffier. 

u  Whence  these  chains  ? 

Whence  the  vile  death,  which  I  may  meet  this  moment? 
Whence  this  dishonor,  but  from  thee,  thou  false  one  ? 

Emphasis  of  the  semitone. 

EXAMPLE. 

"  For  I  was  as  it  were  a  Child  of  thee."  Eloc.  p<  232,  sect.  8. 


A  SERIES  OF  ADDITIONAL  EXAMPLES  OF  EMPHASIS,  WITH 
SHORT  EXPLANATIONS  OF  THE  PRINCIPAL  ELEMENTS 
EMPLOYED.  THE  EMPHATIC  SYLLABLES,  ARE  IN 
ITALICS. 

EXAMPLE    1. 

"  Exercise  and  temperance,  strengthen  even  an  in- 


This  example  shows  a  high  note  on  the  emphatic  syl- 
lable, with  a  downward  slide,  and  some  little  increase  of 
percussive  stress. 

EXAMPLE    2. 

"  You  were  paid  tofght  against  Alexander,  not  to  rail 
at  him." 

The  antithesis  is  effected  by  a  high  note,  downward 
slide,  and  percussive  stress,  on  the  first  syllable,  and  a 


EMPHASIS.  1 57 

high  note,  long  quantity,  and  downward  slide,  on  the 
second. 

EXAMPLE    3. 

"  He  raised  a  mortal  to  the  skies ; 
She  drew  an  ang-e\  down." 

High  note,  with  quantity  and  stress  on  the  first  sylla- 
ble ;  rise  of  note,  with  downward  slide  upon  the  next ; 
high  note,  with  quantity  on  the  next ;  intense  downward 
slide  on  "  she ;"  rise  of  note  with  quantity  and  downward 
slide  on  "  ang ;"  intense  downward  slide  on  "  down." 

EXAMPLE  4. 

"  Seems,  madam  ? 
Nay  it  is,  I  know  not  seems." 

Rise  of  note  upon  the  "  is,"  of  a  fifth,  downward  slide 
of  the  same,  with  extended  quantity,  and  swell  or  median 
stress. 

EXAMPLE    5. 

"The  tempt-eT^ere  the  ac-cw-ser  of  mankind." 

High  note,  downward  slide,  and  percussive  stress,  on 
the  short  syllable  "  tempt ;"  long  quantity  on  the  "  CM." 

EXAMPLE  6. 

I  had  rather  be  \hefirst  man  in  that  w7Z-age,  than  the 
sec-ond  in  Rome. 

High  note  on  "first"  with  simple  downward  slide ; 
high  note,  deep  downward  slide,  with  stress,  on  "  ml ;" 
low  note,  with  stress  on  "sec;"  downward  slide  on 
"  Rome." 

EXAMPLE    7. 

A  day,  an  hour,  of  virtuous  liberty,  is  worth  a  whole 
e-fer-nity  of  bondage. 

14 


158  GRAMMAR  OF    ELOCUTION. 

High  note  on  "hour"  with  strong  percussion,  and 
deep  downward  slide;  a  rise  of  note,  with  deep  down- 
ward slide,  and  median  swell,  on  "  ter." 

EXAMPLE  8. 

"  I  would  not  turn  aside  from  my  least  pleasure, 
Though  all  thy  force  were  armed  to  bar  my  way." 

High  note  on  the  "  thy"  with  extended  quantity,  and 
inverted  equal  wave,  of  the  second. 

EXAMPLE  9. 

Tis  base,  and  poor,  unworthy  of  a  man, 
To  forge  a  scroll,  so  villainous  and  base, 
And  mark  it  with  a  noble  ladies'  name. 

"Man"  has  a  high  note,  with  inverted  equal  wave  of 
the  third. 

EXAMPLE  10. 

'Tis  well,  we'll  try  the  temper  of  your  heart. 

"  Try"  has  a  high  note,  deep  downward  slide,  with 
median  stress. 

EXAMPLE    11. 

You  are  my  /tuA--band's  friend,  the  friend  of  wj/t-aniont. 

High  note  on  "  hus"  with  simple  downward  slide,  and 
some  stress ;  the  same  on  " Alt"  A  deep  downward 
slide,  would  entirely  change  the  meaning. 

These  examples  are  taken  from  Walker's  Elocution. 
It  was  my  business  to  describe  the  elements  employed 
upon  them. 


EMPHASIS.  159 

QUESTIONS    TO    RECITATION    TWELFTH. 

The  student  is  required  to  exhibit  the  following  instan- 
ces of  emphasis. 

1.  Emphasis  of  percussion. 

2.  Of  quantity. 

3.  Of  median  stress. 

4.  Of  vanishing  stress. 

5.  Of  compound. 

6.  Of  a  rising  third, 

7.  A  rising  fifth, 

8.  An  octave,  ^ 

>  Concrete  and  discrete. 

9.  Of  a  falling  third, 

10.  Of  a  fifth, 

11.  Of  an  octave, 

12.  Of  an  equal  wave  of  the  second,  )  -p.. 

'  f  Direct  and  in- 

13.  Of  the  third, 

14.  Of  the  fifth, 

15.  Of  aspiration. 

16.  Guttural  emphasis. 

17.  Of  the  semitone. 

18.  Of  an  unequal  wave. 


RECITATION  THIRTEENTH. 


ANALYSIS  OF  WRITTEN  LANGUAGE. 

WE  have  stated  that  speech  expresses  our  sentiments, 
by  the  varied  use  of  abruptness,  force,  time,  pitch,  and 
quality  of  voice.  These  are  to  be  employed  in  deline- 
ating the  special  relations  of  thought,  which  it  is  the  ob- 
ject of  written  language  to  disclose.  The  intellectual  part 
of  the  Art  of  Elocution,  consists  in  discovering  these  re- 
lations. In  the  plainest  prose,  there  are  points  in  almost 
every  clause,  which  require  to  be  pressed  upon  the  atten- 
tion more  than  others ;  but  a  thorough  discovery  of  what 
these  points  are,  requires  nice  analysis.  After  they  are 
discovered,  the  properties  of  the  voice  which  have  been 
described  throughout  this  grammar,  if  judiciously  em- 
ployed, will  always  set  them  in  a  prominent  light.  I  know 
not  how  the  analysis  of  written  language  can  be  taught, 
otherwise  than  by  the  selection  of  a  few  instances  in 
which  its  application  is  demonstrated.  When  the  student 
knows  there  is  such  a  thing  as  analysis  necessary,  in  order 
to  read  in  a  correct  and  discriminating  manner,  and  is 
shown,  by  a  few  examples,  how  it  is  effected,  he  will  pro- 
ceed in  other  cases  with  increasing  clearness  by  time  and 
practice. 

The  firsj  instance  we  will  select,  is  from  Fox's  History 
of  James.  It  is  a  part  of  the  account  of  the  execution 
of  the  Earl  of  Argyle. 

"  Having  then  asked  pardon  for  his  own  faults,  both  of 
God  and  man,  he  would  have  concluded,  but  being  remin- 


ANALYSIS  OF  WRITTEN  LANGUAGE.         161 

ded  that  he  had  said  nothing  of  the  ROYAL  FAMILY, 
he  adds,  that  he  refers  in  that  matter,  to  what  he  said, 
at  his  trial,  concerning  the  test — that  he  prayed  there 
never  might  be  wanting  one  of  the  royal  family  to  SUP- 
PORT the  PROTESTANT  RELIGION— and  if  any 
of  them  had  swerved  from  the  true  faith  he  prayed  God  to 
turn  their  hearts,  but  at  any  rate  TO  SAVE  HIS  PEO- 
PLE FROM  THEIR  MACHINATIONS." 

It  will  be  evident,  on  a  just  analysis  of  this  passage, 
that  the  words  "  royal  family"  require  to  be  strongly 
marked  in  the  first  clause,  and  to  be  cast  into  compara- 
tive shade  in  that  in  which  they  next  occur.  Here  the 
support  of  the  protestant  religion,  is  evidently  uppermost 
in  the  mind  of  the  Earl,  and  the  train  of  thought  which 
is  most  prominent,  is  to  be  marked  by  the  voice.  The 
word  "  swerved,"  is  a  pointed  allusion  to  the  well  known 
sentiments  of  the  king,  and  requires  to  be  designated  as 
the  leading  idea  of  the  next  clause.  The  "true  faith," 
is  secondary  here,  as  an  object  of  attention ;  it  is  the 
swerving  from  it,  which  is  the  main  sentiment. 

Again,  the  Earl  prays  that  the  heart  of  the  king  may 
be  turned,  but  still  more  earnestly,  that  the  people  may 
be  saved  from  the  machinations  of  Popery.  Now  that 
this  vivid  picture  of  the  thoughts  of  a  man  of  strong  feel- 
ings and  stern  opinions,  should  be  in  perfect  keeping,  all 
the  parts  we  have  enumerated,  should  occupy  prominent 
stations  in  it.  There  are  other  nice  modifications  of 
thought  in  the  passage,  but  the  observations  we  have 
already  made,  will  show  what  it  is  our  object  to  display, 
the  nature  of  the,  analysis  on  which  we  would  insist. 

The  subject  may  be  considered  under  the  following- 
general  heads. 

14* 


162  GRAMMAR    OF    ELOCUTION. 

1 .  Portions  of  discourse  to  be  prominently  marked. 

2.  Parts  that  require  shade. 

3.  Distant  parts,  intimately  related  to  each  other  in  the 
connection  of  thought,  but  separated  to  the  eye  by  inter- 
vening matter. 

Before  we  produce  examples  under  these  respective 
heads,  we  would  observe,  that  the  important  part  of  all 
words,  (where  they  consist  of  more  syllables  than  one,) 
is  the  accented  syllable  ;  and  the  analysis  will  be  render- 
ed more  compendious,  by  bearing  in  mind  that  it  gene- 
rally turns  upon  a  few  accented  syllables ; — sometimes 
upon  a  single  one.  By  recollecting  this,  the  eye  will 
run  over  these  to  discover  their  relations  in  the  order  of 
thought  with  each  other,  and  by  a  little  practice,  will  un- 
fold those  relations  with  almost  intuitive  rapidity  and 
clearness. 

1 .  Exhibition  of  parts  requiring  strong  light. 

I  speak  in  the  spirit  of  British  LAW,  which  makes 
LIBERTY  commensurate  with,  and  inseparable  from, 
British  SOIL  ;  which  proclaims  even  to  the  stranger 
and  the  sojourner,  the  moment  he  sets  his  foot  upon 
British  earth,  that  the  ground  on  which  he  treads  is 
HOLY,  and  CONSECRATED,  by  the  genius  of  uni- 
versal emancipation.  No  matter  in  what  language  his 
doom  may  have  been  pronounced  ;  no  matter  what 
complection,  incompatible  with  freedom,  an  Indian  or 
African  sun  may  have  burnt  upon  him ;  no  matter 
in  what  disastrous  battle  his  liberty  may  have  been  clo- 
ven down  ;  nor  with  what  solemnities  he  may  have  been 
devoted  upon  the  altar  of  slavery ;  the  moment  he  touches 
the  sacred  soil  of  BRITAIN,  the  altar  and  the  God 


ANALYSIS  OF  WRITTEN  LANGUAGE.       163 

SINK  together  in  the  dust ;  his  soul  walks  abroad  in  her 
own  majesty ;  and  he  stands  REDEEMED,  REGE- 
NERATED, and  DISENTHRALLED,  by  the  IR- 
RESISTIBLE genius  of  universal  emancipation. 

2.  Parts  that  require  shade. 

Parentheses,  in  particular,  as  interrupting  and  crossing 
the  main  current  of  thought,  are  of  this  description  ;  but 
they  are  to  be  shaded  only  because  they  do  thus  inter- 
rupt and  cross  that  current;  when  intervening  matter 
does  this  in  other  instances,  the  intrusiveness  of  its  cha- 
racter should  be  marked  by  the  voice. 

Parentheses  are  to  be  slurred.  We  have  often  stated, 
that  varieties  of  stress,  time,  and  pitch,  exalt  the  meaning 
of  discourse  ;  they  may  be  so  used  as  to  depress  its  im- 
portance. In  parentheses,  and  interrupting  clauses  ge- 
nerally, the  pitch  and  force  of  the  voice,  is  to  be  lowered ; 
the  pitch,  force,  time,  and  quality  of  the  voice,  is  to  be 
alike,  or  nearly  so,  on  all  the  syllables,  and  their  quantity 
is  to  be  abridged.  A  lower  pitch,  lessened  force,  quick- 
er time,  and  similarity  of  condition,  in  all  the  syllables  as 
to  stress,  time,  pitch,  and  quality  of  voice,  then  consti- 
tute slurring — a  most  important  function,  and  which  we 
shall  illustrate  in  a  few  marked  instances,  and  not  of  pa- 
renthesis merely. 

The  following  may  serve  as  examples  of  parenthesis. 
The  slurred  parts  are  in  italics. 

"  When,  therefore,  the  Lord  knew  how  the  Pharisees 
had  heard  that  Jesus  made,  and  baptised  more  disciples 
than  John,  (though  Jesus  himself  baptised  not,  but  his 
disciples,)  he  left  Judea  and  departed  again  into  Galilee." 
St.  John,  ch.  iv.,  v.  1. 


164  GRAMMAR   OF    ELOCUTION. 

The  miserable  inhabitants,  (flying  from  their  flaming 
villages,}  in  part  were  slaughtered.  Others,  (without  re- 
gard to  sex,  to  age,  to  rank,  or  sacredness  of  junction, 
fathers  torn  from  children,  husbands  from  wives,  enveloped 
in  a  whirlwind  of  cavalry,  and  amid  the  goading  spears 
of  drivers,  and  the  trampling  of  pursuing  horses,)  were 
swept  into  captivity,  in  an  unknown  and  hostile  land. 

Repetition  requires  shade. 

He  said  unto  THEM,  he  put  clay  upon  mine  eyes,  and 
I  washed,  and  do  see.  St.  John,  ch.  ix.,  v.  15. 

Why  is  the  man's  statement  of  facts  slurred  in  this 
instance  ?  Because  it  had  been  made  before,  as  will  be 
seen  by  reference  to  the  chapter.  A  repetition  of  the 
same  expressions,  always  requires  to  be  slurred,  unless 
intended  to  be  emphatic  for  a  particular  purpose.  Here 
is  another  instance.  "  And  the  son  SAID  unto  his  father, 
father,  J  have  sinned  against  heaven,  and  before  thee,  and 
am  no  more  worthy  to  be  called  thy  son  ;  make  me  one  of 
thy  hired  servants"  He  had  previously  employed  the 
same  expressions.  This  is  a  very  beautiful  instance  of 
the  shading  effect  of  the  slur. 

Important  clauses  sometimes  require  that  others 
should  be  slurred  to  place  them  in  a  strong  light,  by 
contrast. 

EXAMPLE. 

The  smoothness  of  flattery  cannot  NOW  avail— cannot 
SAVE  us  in  this  rugged  and  awful  crisis. 

"When  the  wicked  man  turaeth  AWAY  from  the 
wickedness  which  he  hath  committed,  and  doeth  that  which 
is  lawful  and  right,  he  shall  save  his  soul  alive." 


ANALYSIS    OF    WRITTEN    LANGUAGE.  165 

What  PROFIT  hath  a  man  of  all  his  labor,  which  he 
lakeih  under  the  sun. 

The  thing  which  HAS  been,  it  is  that  which  SHALL 
be,  and  that  which  IS  done,  is  that  which  SHALL  be 
done,  and  there  is  no  NEW  thing  under  the  sun. 

IS  there  any  thing  whereof  it  may  be  said,  See,  this  is 
new'? 

The  capitals  in  the  foregoing  examples,  show  the  em- 
phatic words;  the  italic  letters,  the  slurred  parts. 

The  parts  of  discourse  to  which  slurring  may  be  appli- 
ed, must  depend  on  the  modifications  of  thought ;  but 
when  rightly  employed,  it  is  a  great  beauty  of  delivery. 
Good  reading  and  speaking  consists  in  the  continual  va- 
riety of  light  and  shade,  made  by  the  proper  adjustment 
of  the  functions  of  the  voice,  according  to  the  importance 
of  the  matter  subjected  to  its  disposal. 

Examples  of  distant  parts  intimately  related  in  grammat- 
ical or  rhetorical  connection  and  thought,  but  separated 
to  the  eye. 

And  SEND'ST  HIM  (shivering  in  thy  playful  spray, 
And  howling  to  his  Gods]  WHERE  happy  lies 
His  petty  hope,  in  some  near  port  or  bay,  etc. 

Childe  Harold. 
Elocutionist,  sect.  4,  p.  283, 

The  distant  words  always  require  some  form  of  em- 
phasis, in  cases  like  the  above,  to  effect  the  proper  vocal 
expression  of  their  syntax. 

"  THOU !  (glorious  mirror,  where  the  Almighty's  form 
Glasses  itself  in  tempests,}  in  ALL  time, 


166  GRAMMAR    OF    ELOCUTION. 

(Calm  or  convulsed,  in  breeze,  or  gale,  or  storm, 
Icing  the  Pole,  or  in  the  torrid  clime, 

Dark  /leaving)  BOUNDLESS,  ENDLESS,  and  SUBLIME. 

See  Elocut.,  p.  283,  sect.  7. 

About  her  middle  round, 

A  cry  of  HELL  HOUNDS  (never  ceasing)  BARKED, 
(With  wide  cerberian  mouths  full  loud]  and  RUNG 
A  hideous  peal. 

The  hell  hounds  barking,  and  (in  so  barking,)  ringing 
a  hideous  peal,  constitute  the  main  current  of  the  thought 
in  this  passage ;  and  this  order  of  ideas  is  to  be  repre- 
sented by  connecting  the  substantive  "  hell  hounds"  with 
the  two  verbs  "  barked"  and  "  rung"  and  casting  over  the 
cross  current  which  breaks  in  upon  this  order  a  strong 
shade. 

After  dinner  he  retired,  (as  was  his  custom,)  to  his 
bedchamber,  WHERE,  (it  is  recorded,)  he  SLEPT 
quietly,  for  about  a  quarter  of  an  hour. 

Elocut.,  p.  38,  sect.  1. 

Few  persons  have  ever  read  this  passage  to  me,  with- 
out giving  it  such  an  intonation  as  made  "recorded" 
refer  to  the  "bedchamber;"  whereas  the  word  " slept," 
refers  to  the  bedchamber,  and  the  parenthesis  is  to  be 
carefully  separated  from  all  connection  with  it, 

"  And  then  he  beheld,  enjoying  a  sweet  and  tranquil 
SLUMBER,  the  man,  WHO,  (by  the  doom  of  him  and 
his  fellows,)  was  to  DIE  within  the  SHORT  SPACE  of  TWO 
HOURS." 

The  extraordinary  fact  is,  that  a  man  should  sleep  so 
near  execution.  Consequently,  the  connection  between 
these  two  ideas,  is  to  be  revealed  strongly  by  the  voice. 


ANALYSIS  OF  WRITTEN  LANGUAGE.         167 

His  FRIEND  (who  was  apprised  of  the  state  he  was 
in,  and  who  naturally  concluded  he  ivas  ill,)  OFFERED 
him  some  wine. 

The  syntax  here  does  not  require  observation. 

May  THE  LIKE  SERENITY  (in  such  dreadful 
circumstances,)  and  a  DEATH  EQUALLY  GLORI- 
OUS, be  the  lot  of  all  whom  TYRANNY,  (of  whatever 
denomination  or  description,)  SHALL,  (in  any  age,  or 
in  any  country,)  CALL  to  expiate  their  virtues  on  the 
scaffold. 

The  main  current  here  is,  "  may  the  like  serenity,  and 
a  death  equally  glorious,  be  the  lot  of  all  whom  tyranny 
shall  call  to  expiate  their  virtues  on  the  scaffold."  The 
cross  currents  so  frequently  interrupt  the  natural  order 
of  the  thoughts,  as  to  render  this  a  scarcely  tolerable 
passage. 

This  last  example,  and  several  others  which  we  have 
cited,  shew  the  intimate  connection  between  the  arts  of 
composition  and  delivery.  This  is  a  subject  which  can- 
not be  pursued  here.  But,  it  must  be  obvious  that  such 
an  analysis  as  is  necessary  to  present  a  clear  picture  of 
thought  in  delivery,  cannot  fail  to  reveal,  the  latent  beau- 
ties as  well  as  defects  of  composition.  The  art  of  Rhe- 
toric cannot  but  derive  assistance  from  that  of  Elocution ; 
since  a  careful  consideration  of  the  nice  relations  of 
thought,  in  written  language  is  constantly  necessary  to  its 
practice. 

Every  exertion  of  it  consists  in  the  application  of  a 
subtle  test,  by  which  composition,  as  a  medium  of  con- 
veying thought  and  sentiment,  is  tried.  The  arts  of  Rhe- 
toric and  Delivery  are  therefore  intimately  related,  and 


168  GRAMMAR    OF    ELOCUTION. 

assist  each  other;  and  we  may  remind  those  who  afiect 
great  zeal  for  the  one,  and  contemn  the  other,  of  what  Ba- 
con used  to  say,  when  he  experienced  a  temporary  diffi- 
culty, from  two  passages  of  scripture  which  he  could  not 
immediately  reconcile.  "  Ye  are  brethren,  why  strive 
ye?" 

In  terminating  these  remarks  on  the  analysis  of  written 
language,  I  would  take  occasion  to  observe,  that  the  right 
application  of  the  elements  of  the  voice  is  not  (in  my 
opinion)  to  be  expected  from  a  multiplication  of  rules. 
Language  is  bestowed  upon  us  for  the  purpose  of  setting 
forth  our  thoughts  and  feelings — but  the  modifications  of 
these  are  so  multifarious,  and  the  methods  of  expressing 
them  by  the  voice  so  numerous,  that  no  system  can 
bind  the  particulars  of  the  art  of  Elocution  into  any 
thing  like  a  complete  series  of  grammatical  rules. 
Hence  all  those  who  have  attempted  to  give  system- 
atic rules  of  inflection,  (and  the  remark  applies  to  other 
elements  as  well  as  to  pitch,)  have,  in  my  humble  view  of 
the  subject,  involved  themselves  and  their  readers  in 
confusion.  I  have  not  examined  any  of  these  rules  with- 
out perceiving  numerous  exceptions  to  them, not  stated  by 
their  authors :  and  the  sense  of  the  examples  cited  to 
exhibit  particular  combinations  of  the  elements,  may  ge- 
nerally be  expressed  by  other  modes  of  the  voice  besides 
those  insisted  upon  under  the  rules.  All  that  can  be  done 
in  the  art  of  Elocution  is,  in  my  opinion,  to  insist  on  an 
exact  analysis  of  written  language — and  to  set  forth  the 
ELEMENTS  of  the  voice,  by  a  few  obvious  examples. 
In  other  cases  than  those  exemplified  the  student  must 
be  left  to  use  them  for  himself  as  circumstances  may  re- 
quire. This  I  am  persuaded  (from  observation  and  ex- 


ANALYSIS  OF  WRITTEN  LANGUAGE.        169 

perience  as  a  teacher)  is  all  that  is  necessary  for  the  in- 
telligent; and  the  dull  would  be  more  troubled  by  multi- 
farious rules  and  exceptions,  than  by  the  difficulties  which 
they  seek  to  avert.  Let  the  elements  of  an  art  be  fairly 
unfolded,  and  a  few  conspicuous  instances  of  their  prac- 
tical application  be  afforded,  and  moderate  ingenuity  will 
effect  the  rest ;  the  right  use  of  elements  in  other  instan- 
ces is  only  a  proper  exercise  of  individual  ability,  and 
comes  by  a  little  practice.  I  am  persuaded  that  he  who 
attempts  to  push  the  science  farther  than  this — to  give 
(for  instance)  a  detailed  account  of  the  possible  applica- 
tions of  inflection  will  involve  himself  in  a  labyrinth  through 
the  windings  of  which  Ariadne's  thread,  if  he  had  it, 
would  not  suffice  to  conduct  him. 


15 


RECITATION  FOURTEENTH. 


IMPROVEMENT  OF  THE  VOICE. 

DR.  RUSH  has  described  a  kind  of  voice  which,  from 
its  preeminent  qualities,  he  denominates  the  OROTUND. 
In  its  highest  condition,  it  is  deep,  full,  strong,  smooth, 
sonorous,  and  has  a  highly  resonant  or  ringing  character, 
like  the  sound  of  musical  instruments.  The  person 
possessing  it  appears  to  labor  under  a  slight  hoarseness. 
This  voice  is  highly  agreeable  to  the  ear,  and  is  more  mu- 
sical than  the  common  voice.  It  is  possessed  by 
actors  of  eminence  and  is  peculiarly  adapted  to  set  forth 
the  beauties  of  epic  and  tragic  composition.  It  is  heard 
in  its  greatest  perfection  on  the  vowel  sounds. 

I  believe  the  quality  of  the  voice  is  greatly  dependent 
on  management  and  cultivation.  Experiments  have  con- 
vinced me  that  more  depends  upon  the  former,  than  on 
natural  peculiarity.  Indeed  I  am  disposed  to  think  that 
by  attention  to  certain  methods  of  forming  sounds  in  the 
mouth,  which  I  shall  presently  explain,  voices  may  be 
rendered  very  much  alike  in  their  quality  ;  and  that  by 
forcible  efforts  properly  and  perseveringly  made,  in  com- 
bination with  such  methods,  most  voices  may  be  render- 
ed strong.  Now  quality  and  strength  are  the  two  cir- 
cumstances in  which  voices  differ  most  from  each  other. 

The  parts  of  the  mouth,  posterior  to  the  palate,  bound- 
ed below  by  the  root  of  the  tongue,  above  by  the  com- 
mencement of  the  palate,  behind  by  the  most  posterior 
of  the  throat,  and  on  the  sides  by  the  angles  of  the  jaw,  are 


IMPROVEMENT  OF  THE  VOICE.  171 

the  seat  of  the  deep  voice  I  have  described.  If  the 
tongue  is  retracted  and  depressed,  and  the  mouth  is  open- 
ed, in  such  a  manner  as  to  favor  the  enlargement  of  the 
cavity  described  as  much  as  possible,  and  any  of  the 
vowel  sounds  are  then  uttered  with  force  and  abruptness, 
and  without  calling  other  parts  of  the  mouth  into  vibra- 
tion, in  their  passage  through  it,  the  orotund  voice  will  be 
immediately  exhibited,  in  a  very  high  degree,  and  un- 
mixed in  its  quality. 

By  practice  in  exploding  the  vowel  elements,  in  the 
manner  formerly  described,  it  may  be  made  to  acquire 
increasing  clearness  and  strength  ;  and  may  be  varied  in 
pitch  like  the  common  voice.  But  orotund  voices  are 
often  husky  and  indistinct :  that  is  to  say,  there  is  a  want 
of  brilliancy  in  some  of  the  sounds,  and  consequently  of 
distinct  audibility  in  the  elements.  Under  these  circum- 
stances, many  of  the  words  spoken  on  the  stage  and  else- 
where, under  this  modification  of  voice,  are  lost  to  the 
ear.  More  than  this ;  experiments  will  show  that  if  the 
vibrations  are  confined  to  the  parts  described,  and 
the  anterior  parts  of  the  mouth,  (the  roof  especial- 
ly,) are  made  a  mere  passage  for  the  orotund,  force 
and  sonorous  clearness  are  very  apt  to  be  deficient. 
The  voice  will  be  deep,  grave  and  dignified,  but  often,  in- 
audible. There  will  be  more  or  less  of  aspiration  and 
huskiness.  But,  if  in  the  condition  of  organs  set  forth 
above,  the  vowel  elements  are  uttered,  as  before  described, 
and  are  made,  in  the  way  to  the  external  air,  to  vibrate 
against  the  centre  of  the  bony  arch  of  the  palate,  stretching, 
an  extensive  and  reverberating  vaulted  cavity  immediately 
over  the  passage  of  sound,  the  voice  will  at  once  be  heard 
clear,  full,  and  sonorous.  The  properties  of  clearness 
and  musical  resonance  will  be  in  proportion  to  the  force 


172  GRAMMAR    OF    ELOCUTION. 

of  vibration  made  against  the  palatial  part  of  the  mouth. 
The  resisting  part  of  the  palate  is,  I  believe,  the  peculiar 
seat  of  the  musical  properties  of  the  voice,  by  which  I 
mean  that  clear  resonance  which  is  heard  on  well  made 
musical  instruments.  Forcible  compression  of  the  air 
against  the  superior  and  hard  parts  of  the  mouth,asif  it  were 
to  be  driven  through  the  centre  of  the  head  in  its  passage, 
increases  the  resonance,  and  therefore  the  approximation 
of  the  jaws,  and  tension  of  the  tongue  and  cheeks,  by  in- 
creasing that  compression,  contribute  to  the  result. 

For  practice  in  the  pure  orotund,  unmixed  with  the 
palatial,  the  directions  may  be  condensed  thus.  Let 
each  of  the  vowel  elements  be  expelled  from  the  most 
posterior  part  of  the  throat  with  as  much  opening  force 
and  abruptness  as  possible,  and  the  long  ones  with  ex- 
tended quantity,  with  the  condition  of  the  organs  first 
described,  and  let  the  effort  be  so  made  as  to  exhaust  as 
much  as  posssible  the  air  'contained  in  the  chest  upon 
each  element.  Endeavor  to  make  the  sounds  as  grave 
and  hollow  as  possible.  This  method  of  sounding  the 
elements  will  be  apt  to  produce  giddiness  and  hoarseness 
at  first,  and  must  therefore  be  prosecuted  with  care.  By 
practice  these  inconveniences  will  cease,  and  as  soon  as 
they  do,  the  elements  should  be  daily  sounded  for  some 
time  in  the  manner  described. 

Next  let  the  elements  be  made  as  clear  and  sonorous 
as  possible,  by  sounding  them  from  the  back  part  of  the 
throat  with  the  condition  of  parts  first  described,  but 
ringing  them  in  their  passage  against  the  palate  as  subse- 
quently pointed  out. 

A  peculiar  nasal  twang  can  be  communicated  to  the 
elements  by  ringing  them  in  the  posterior  nostrils;  and 


IMPROVEMENT  OF  THE  VOICE.  173 

they  can  be  snuffled  in  the  anterior  by  directing  the  vi- 
brations to  the  lower  parts  and  edges  of  the  anterior  nos- 
trils. The  more  all  kind  of  nasality  however,  is  avoided, 
the  more  clear,  sonorous,  and  satisfactory  to  the  ear  the 
voice  will  become. 

When  the  elements  can  be  sounded,  subject  to  the  di- 
rections above  given,  let  the  attempt  be  made  to  sound 
words  in  this  voice.  As  soon  as  single  words  can  be 
uttered,  of  a  pure  orotund  character,  let  attempts  be  made 
to  sound  sentences,  and  by  degrees  this  voice  will  be 
heard  upon  successive  syllables.  At  first,  it  will  be  mo- 
notonous, but  practice  will  enable  the  student  to  vary  his 
pitch  with  the  orotund,  as  easily  as  with  the  natural  voice. 

Now,  though  we  do  not  recommend  attempts  to  use  this 
voice  in  speaking  or  reading,  until  long  practice  has  pla- 
ced it  at  entire  command,  yet  we  can  assure  the  student, 
that  the  elementary  exercises  here  enjoined,  will  improve 
his  natural  voice.  Their  direct  tendency  is  to  impart  depth, 
tone,  strength,  fulness,  and  smoothness.  We  ought  here  to 
insert  a  restricting  clause,  and  say  that  this  voice  is  not  the 
voice  employed  in  common  and  familiar  subjects.  It  is 
more  especially,  the  appropriate  symbol  of  the  dignified 
parts  of  epic  and  tragic  poetry,  and  the  more  solemn  por- 
tions of  the  scriptures.  But  a  person  cannot  have  an 
impressive  delivery  in  public  speaking,  without  the  depth, 
force,  and  clearness  of  tone,  which  the  practice  necessary 
to  attain  the  orotund,  is  the  most  effective  method  of  ac- 
quiring. Some  persons  have  a  natural  orotund.  Those 
who  have  not,  may  certainly  acquire  it,  except  in  some 
rare  instances. 

15* 


174  GRAMMAR   OF    ELOCUTION. 

Loud  vociferation. 

Frequent  exercise  of  the  voice,  in  declaiming  aloud, 
with  the  utmost  degree  ofjorce,  of  which  it  is  susceptible. 
is  another  sure  mean  of  improving  it.  Persons  in  gene- 
ral, have  no  adequate  notion  of  the  degree  to  which  the 
voice  may  be  improved,  by  the  daily  habit  of  loud  vocife- 
ration. As  soon  as  this  strong  action  of  the  voice  can 
be  employed  without  hoarseness,  it  ought  to  be  maintain- 
ed for  a  considerable  length  of  time,  at  once,  (say  half  an 
hour,)  and  if  the  exercise  is  united  with  a  perfect  obser- 
vation of  measure,  it  will  be  beneficial,  rather  than  injuri- 
ous to  health,  and  especially  if  prosecuted  in  the  open 
air.  There  is  a  grave  fulness  of  quality  in  all  voices  thus 
habitually  exercised,  which  is  at  once  grateful  to  the  ear, 
and  adequate  to  the  purposes  of  public  speaking.  No 
person  should  attempt  to  address  large  public  assemblies, 
whose  voice  has  not  been  submitted  to  the  gymnastic 
training  here  recommended,  for  some  time.  I  have 
known  a  voice  got  up  in  a  fortnight,  by  this  practice, 
from  comparative  feebleness,  into  a  well  marked  strength 
and  fulness. 

Explosion,  both  of  the  vowels  and  consonants,  as  de- 
scribed, under  the  head  of  articulation,  with  the  utmost 
degree  of  rending  force  and  abruptness,  should  accompa- 
ny the  above  mentioned  exercises. 

A  .... 

Compass  of  the  voice  as  to  pitch. 

Let  the  following  sentence  be  begun  with  great  loud- 
ness,  in  a  very  low  pitch,  and  let  the  voice  gradually  rise, 
till  it  attains  to  its  highest  note,  then  let  it  descend  again 
gradually,  to  the  point  at  which  it  set  out,  terminate  with 
its  lowest  note,  maintaining  great  force  throughout. 


IMPROVEMENT  OF  THE  VOICE.  175 

Though  you  untie  the  winds,  and  let  them  fight 

Against  the  churches,  though  the  yesty  waves 

Confound  and  swallow  navigation  up; 

Though  bladed  corn  be  lodged,  and  trees  blown  down ; 

Though  castles  topple  on  their  warden's  heads, 

And  nature's  germins  tumble  altogether, 

Even  till  destruction  sicken  ? — Answer  me. 

By  this  practice,  a  command  over  the  scale  will  be 
obtained. 

Let  sentences  be  selected  requiring  a  low  pitch. 
Solemn  sentences  are  of  this  description.  These  are  to 
be  read  with  sustained  force,  in  a  very  low  pitch,  with  a 
view  of  strengthening  the  voice  upon  a  low  note.  A  high 
note  is,  in  itself,  more  audible  than  a  low  one ;  hence  the 
voice  is  naturally  inclined  to  rise  as  it  increases  in  force ; 
on  this  account,  it  must  be  kept  down  while  its  volume  is 
increased  in  these  exercises.  The  following  sentence 
will  serve  the  purpose  we  have  in  view. 

"  And  I  saw  another  angel  fly  in  the  midst  of  heaven, 
having  the  everlasting  gospel  to  preach  unto  them  that 
dwell  on  the  earth,  and  to  every  nation,  and  kindred, 
and  tongue,  and  people,  saying  with  a  loud  voice,  Fear 
God,  and  give  glory  to  him;  for  the  hour  of  his  judg- 
ment is  come  :  and  worship  him  that  made  heaven,  and 
earth,  and  the  sea,  and  the  fountains  of  water."  Rev. 
c.  14,  v.  6,  7. 

Other  sentences  should  be  read  as  loudly  as  possible, 
at  the  pitch  of  a  person's  common  conversation ;  and 
others  again,  at  a  much  higher  pitch ;  and  the  reading  at 
these  respective  points  of  compass,  should  be  steadily 
continued  for  a  considerable  time,  as  an  exercise.  This 


176  GRAMMAR    OF    ELOCUTION. 

exercise  will  produce   fulness  and  clearness  of  note, 
throughout  the  voice's  compass. 

Rapidity  in  reading. 

It  will  be  found  that  the  practice  of  reading  with  great 
rapidity  and  loudness,  will  increase  the  strength  of  the 
voice.  It  will  enable  a  person  to  sound  the  elements 
with  great  distinctness,  and  to  vary  them  with  force  and 
precision.  We  ought  to  observe,  however,  that  the  ra- 
pidity of  the  utterance  should  never  be  so  great,  as  to 
prevent  the  exact  sounding  of  every  element,  usually 
heard  in  the  words.  Rapid  reading  is  also  an  excellent 
preparative  for  the  proper  management  of  parentheses, 
and  parts  of  a  passionate  character,  requiring  a  quick 
pronunciation.  But  it  is  of  especial  use  in  giving  uner- 
ring precision,  force,  and  distinctness,  to  the  organs  of 
speech  in  ordinary  utterance,  which  are  points  of  the  ut- 
most importance  to  a  public  speaker. 

Let  these  exercises  be  steadily  pursued,  say  for  a 
single  hour  a  day,  for  a  few  weeks  only,  and  there  are 
very  few  persons  who  will  have  to  complain  of  want  of 
force,  loudness,  compass,  or  good  quality  of  voice,  or  of 
a  feeble  and  confused  enunciation. 

We  conclude,  by  observing,  that  the  practice  here  en- 
joined, must  be  followed  by  all  who  entertain  any  rea- 
sonable hope  of  speaking  with  power  in  public,  to  large 
assemblies.  The  choice  lies  between  previous  industry 
of  preparation,  or  the  anguish  of  disappointment  when 
the  trial  comes. 


RECITATION   FIFTEENTH. 


OF  THE  APPLICATION  OF  THE  VOCAL  ELE- 
MENTS, IN  EXPRESSING  EMOTION. 

Loudness. 

THIS  is  appropriate  to  sentiments  of  great  energy  and 
earnestness,  astonishment,  exultation,  rage,  anger,  joy, 
and  others. 

Feebleness  is  appropriate  to  humility,  sorrow,  peni- 
tence, shame,  apathy,  and  other  sentiments  allied  to  de- 
pression of  mind. 

The  intermediate  degrees  of  force,  belong  to  didactic 
subjects,  from  which  passion  is  for  the  most  part,  exclu- 
ded to  simple  reading,  to  philosophical,  critical,  and  pro- 
fessional lectures,  etc. 

Increased  rate  of  voice. 

A  moderately  quick  rate  of  voice,  is  appropriate  to  all 
cheerful  subjects,  and  such  as  approach  the  character  of 
ordinary  conversation.  A  quicker  time  is  required  in  pa- 
rentheses, and  in  sections  of  discourse,  which  interrupt  the 
main  current  of  thought ; — also  in  the  emotions  of  anger, 
joy,  mirth,  and  all  the  more  animating  passions. 

Slowness  of  voice,  or  slow  time,  on  the  contrary,  is 
appropriate  to  all  grave,  solemn,  dignified,  and  pathetic 
subjects. 


178  GRAMMAR  OF  ELOCUTION. 

Quality  of  voice. 

Familiar  subjects  are  best  expressed  by  the  voice  of 
common  conversation,  while  serious,  grand,  and  solemn 
ones,  require  the  orotund  fulness.  In  conversation,  the 
voice  of  most  persons  is  comparatively  meagre ;  it  wants 
sonorous  fulness,  and  seems  to  issue  from  the  lips. 

The  impression  I  receive  from  it,  in  some  instances  in 
which  it  seems  particularly  determined  to  the  teeth  and 
lips,  might  be  expressed  by  the  term  lip  bound  ;  and  if 
the  condition  of  the  lips  be  inspected  in  persons  whose 
voice  is  marked  by  the  peculiarity  t  would  nowr  designate, 
they  will  be  found  to  be  more  than  usually  compressed 
towards  the  teeth  during  speech.  The  voice,  in  order  to 
sound  full,  should  have  free  course.  To  borrow  a  home- 
ly phrase,  the  gangway  should  be  kept  perfectly  clear. 

Its  sonorous  character  should  not  be  changed  by 
determining  its  action  to  the  teeth  and  lips,  by  partially 
closing  the  former,  and  compressing  the  latter  :  or  by  in- 
terfering with  its  exit,  by  an  improper  use  of  the  tongue. 
When  the  elements  are  once  formed,  the  mouth  should 
be  freely  opened  for  their  explosion.  A  voice  proceed- 
ing from  the  throat,  rung  upon  the  roof  of  the  mouth,  and 
haying  free  exit  through  the  teeth,  lips,  and  nose,  and 
little  modified  by  their  action,  will  be  most  full,  sonorous, 
and  dignified.  A  nasal  twang  should  be  especially 
avoided.  Persons  frequently  have  this,  who  speak  in 
spectacles,  from  their  confining  the  current  of  air  through 
the  nose. 

The  semitone. 

The  semitone  ought  to  be  exclusively  appropriated  to 
plaintive  subjects,  and  only  to  such  as  are  very  conside- 


EMOTION.  179 

rably  so.  It  cannot  often  be  introduced  into  narrative 
reading.  Pathetic  subjects,  if  not  highly  plaintive,  when 
read  with  a  grave  tone,  and  with  long  drawn  time,  will  be 
sufficiently  expressive  without  the  semitone.  The  pa- 
thetic character  of  the  language  itself,  being  enough  to 
produce  the  desired  impression.  The  semitone,  howe- 
ver, is  necessary  to  express  grief,  and  vexation.  It  is 
the  natural  language  of  lamentation,  sorrow,  complaint, 
disappointment,  and  pity,  in  their  highest  degrees.  It 
is  appropriate  to  the  penitential  parts  of  supplication ;  but 
only  to  these — not  to  prayer  in  the  form  of  requests,  etc. 
The  semitone  is  too  much  in  use,  in  the  pulpit,  where  it 
is  often  combined  with  a  drawl,  and  a  mixture  of  song ; 
which,  certainly,  together,  constitute  a  mode  of  utte- 
rance, which  can  only  please  those  who  have  their  own 
peculiar  associations,  to  reconcile  them  to  such  offence 
against  the  laws  of  agreeable  speech.  Many  persons 
perform  all  their  religious  services,  as  if  under  the  con- 
stant pressure  of  severe  bodily  pain. 

The  simple  melody  of  speech,  is  appropriate  to  all  those 
portions  of  discourse,  where  emotion,  interrogation,  and 
emphasis,  do  not  intervene,  and  should  never  be  broken, 
except  for  the  purpose  of  expressing  these. 

The  rising  slides  of  the  voice,  differ  in  intensity,  from 
the  simple  suspension  of  the  voice  at  a  comma,  up  to  the 
sneering  octave,  in  scornful  interrogation.  The  slides, 
and  radical  changes,  appropriate  to  interrogation,  empha- 
sis, and  emotion,  are  those  of  a  third,  a  fifth,  and  an  octave. 
The  more  intense  the  slide,  the  more  earnest  is  the  question, 
and  the  greater  the  degree  of  emotion  expressed  by  it. 
Persons  are  less  likely  to  fail  in  the  right  expression  of 
interrogation,  than  in  many  other  points  of  speech.  The 


180  GRAMMAR  OF  ELOCUTION. 

expression  of  interrogative  sentences,  is  effected  by  con- 
crete and  discrete  rises  of  a  third,  a  fifth,  and  an  octave. 

Words  of  long  quantity,  in  such  sentences,  become  in- 
terrogative by  a  concrete  rise,  and  words  that  do  not 
admit  of  extended  quantity,  acquire  the  interrogative 
intonation,  by  running  along  the  line  of  the  vanishing 
points  of  the  long  concretes,  with  the  simple  rise  of  a 
second.  In  instances  of  very  intense  and  earnest  ques- 
tioning, the  short  syllables  not  only  begin  an  octave 
higher  than  the  long  concretes,  as  just  stated,  but  rise 
concretely r,  a  third,  a  fifth,  or  an  octave,  in  addition. 
Such  combination  of  radical  and  concrete  rise,  is  con- 
fined, however,  to  words  and  sentences  of  earnest  and 
passionate  interrogation.  The  greater  the  number  of 
words  are  on  which  the  interrogative  intervals  fall,  the 
more  intensely  earnest  the  sentence  becomes.  Vanish- 
ing stress,  renders  interrogation  more  passionate  and  em- 
phatic. 

We  deem  this  sufficient  on  the  subject,  as  the  object 
of  this  work  is  exclusively  practical.  Persons  who  wish 
to  see  the  principles  of  interrogatory  sentences  more  ful- 
ly discussed,  will  do  well  to  consult  Dr.  Rush's  "  Philo- 
sophy of  the  voice,"  on  that  subject.  Indeed,  on  that 
and  all  others,  connected  with  the  art  of  speech,  the 
most  valuable  information  will  be  derived  from  its  peru- 
sal :  nor  is  it  in  the  slightest  degree  intended,  by  the 
author  of  this  grammar,  to  offer  it  as  a  substitute  for  that 
profound,  original,  and  ingenious  treatise. 

The  rising  radical  movements  of  the  voice,  are  em- 
ployed in  various  degrees  of  intensity,  to  mark  emphasis, 
condition,  and  admiration,  and,  (as  has  been  already  ob- 
served) interrogation. 


DRIFT.  18*1 

The  downward  movements  of  the  voice,  in  the  vari- 
ous degrees  of  intensity  marked  by  the  descent  of  a  third, 
a  fifth,  and  an  octave,  express  strong  exclusive  empha- 
sis, surprise,  astonishment,  wonder,  command,  reprehen- 
sion, denunciation,  positiveness  of  conviction  and  deter- 
mination, indignation,  resolve,  confidence,  satisfaction, 
defiance,  etc. 

We  refer  to  examples  under  emphasis. 

Protracted  quantity. 

Long  drawn  time,  as  has  been  already  said,  naturally 
assumes  the  form  of  the  wave  of  the  second.  It  is  ap- 
propriate to  subjects  of  a  solemn  and  grand  character, 
and  has  been  fully  treated  under  its  appropriate  head. 

Force. 

The  use  of  force,  under  its  various  forms,  has  been 
already  amply  specified.  So  have  that  of  the  tremor  of 
the  voice,  aspiration,  and  the  guttural  emphasis. 

DRIFT  OF  VOICE. 

Sometimes  the  use  of  the  same  elements  of  the 
voice  prevails  throughout  the  whole,  or  certain  por- 
tions of  a  discourse,  giving  a  peculiar  character  or  colo- 
ring to  expression,  independent  of  emphasis,  or  solitary 
words.  Dr.  Rush  is  the  first  person  who  has  drawn  at- 
tention to  this  department  of  elocution.  See  sect.  45, 
of  his  Philosophy  of  the  Human  Voice. 

The  diatonic  drift,  is  the  most  common,  and  of 
most  extensive  application.  It  consists,  principally,  of  a 
series  of  rising  tones,  with  an  occasional  fall  of  a  second. 
We  have  already  stated  under  what  circumstances  it  is 
applicable.  It  may  be  united  with  more  or  less  of  stress 
16 


182  GRAMMAR    OF    ELOCUTION. 

and  quantity,  and  is  subject  to  all  possible  varieties  of 
quality  of  voice.  All  passionless  subjects  take  on  this 
drift,  with  occasional  emphasis  to  mark  the  sense. 

Drift  of  the  wave  of  the  second. 

This  drift  is  united  necessarily,  with  slow  time,  can 
only  be  maintained  on  long  quantities,  and  is  limited  to 
dignified,  solemn,  deliberate  subjects. 

Drift  of  the  semitone. 

This,  when  united  with  long  quantity,  makes  a  drift 
of  the  wave  of  the  semitone.  It  is  adapted  to  all  highly 
penitential,  tender,  and  plaintive  subjects. 

CONSPICUOUS    EXAMPLE. 

Yet,  O!  Lord  God,  most  ho-\y.  O!  Lord,  most 
mighty.  O  /  Ao-ly  and  most  merciful  Sav-ior,  deliver 
us  not  into  the  bitter  pains  of  e-ter-nal  death. 

The  whole  is  seraitonic ;  the  words  in  italics  take  the 
wave. 

Drift  of  the  downward  third,  and  fifth. 

This  is  often  united  with  vanishing,  with  compound, 
with  median,  and  sometimes  with  radical  stress.  This 
union  of  elements  will  express  positiveness,  conviction, 
indignation,  surprise,  denunciation,  reprehension,  re- 
proach, authority,  command. 

EXAMPLES. 
Positiveness. 

He  is  a  prophet.     John,  ix.  5. 
I  believe  that  thou  art  the    Christ,  the  Son  of  God, 
which  should  come  into  the  world. 


DRIFT.  183 

In  these  two  examples,  some  of  the  emphatic  words 
have  an  elevation  of  note,  but  the  downward  concrete  is 
conspicuous,  and  is  combined  with  stress. 

Denunciation. 

Woe  unto  thee,  Cho-ra-zin;    Woe  unto  thee  Beth- 


"  For  the  na-tion  and  king-dom  that  will  not  serve 
thee,  shall  perish  ;  yea,  those  nations  shall  be  wf-terly 
wasted. 

Authority  —  command. 

He  that  be-Ziev-eth  in  me,  though  he  were  dead,  yet 
shall  he  live,  and  whoso-ev-er  liveth  and  believeth  in 
me,  shall  nev-er  die. 

Uz-z\e\,  half  these  draw  off,  and  coast  the  south 
With  strict-est  watch  ;  these  oth-er  wheel  the  north  ; 
Our  circuit  meets  full  west. 

There  is  downward  concrete  heard  in  the  above  in- 
stances, and  with  marked  stress.  So  in  the  following. 

Such  where  ye  find,  seize  fast,  and  hither  bring. 
A-bide  in  me,  and  J  in  you. 

Surprise,  with  conviction. 

And  Thomas  answered  and  said  unto  him,  my  Lord 
and  my  Go  d. 

Reprehension. 

Why  hast  thou,  Satan,  broke  the  bounds  prescribed 
To  thy  transgression,  and  dis-turbed  the  charge 
Of  oth-ers,  who  approve  not  to  transgress 
By  thy  ex-am-ple,  but  have  power  and  right 
To  ques-tion  thy  bold  entrance  on  this  place  ; 
'Em-ployed,  it  seems,  to  violate  sleep,  and  those 
Whose  dwelling  God  hath  planted  here  in  bliss. 


184  GRAMMAR   OF    ELOCUTION. 

The  prevalent,  and  most  impressive  elements,  in  the 
above  cited  example,  are  the  downward  concrete,  with 
vanishing  stress. 

The  downward  concrete,  with  frequent  elevation  of 
note,  strong  radical  stress,  and  a  quick  movement,  pre- 
vail in  the  following. 

Then,  when  I  am  thy  captive,  talk  of  chains, 
Proud  limitary  cherub  !  but  ere  then, 
Far  heavier  load  thyself  expect  to  feel, 
From  my  prevailing  arm,  though  heaven's  king 
Ride  on  thy  wings. 

Drift  of  the  upward  third,  fifth,  and  octave. 

Am  I  a  dog,  that  thou  comest  against  me  with  staves  ? 

Must  /  budge?  Must  /  crouch  under  your  tes-ty 
hum-art 

Am  /my  broth-ei's  &eep-er? 

Drift  of  quantity,  and  median  stress. 

These  go  together,  and  are  applicable  to  the  dignified, 
and  the  solemn. 

Hail,  ho  ly  light,  offspring  of  heaven,  first  born  ; 

Or  of  the  e-ter-nal,  co-eternal  beam, 

May  I  express  thee  uriblamed?  Since  God  is  light, 

And  never,  but  in  unapproached  light, 

Dwelt  from  eternity,  dwelt  then  in  thee, 

Bright  effluence  of  bright  essence,  in-create. 

"  We  praise  thee,  O  God.     We  acknowledge  thee  to 

be  the  Lord. 

"  To  thee  all  angels  cry  aloud  ;  the  Heavens,  and  all 

the  powers  therein. 

"  To  thee  cherubim  and  seraphim  continually  do  cry, 

"  Ho-ly,  JHb-ly,  Ho-\yLord  God  of  Sabaoth." 

"  0  /  Lord  save  thy  people  and  bless  thine  heritage," 


DRIFT.  185 

The  wave  of  the  second,  with  median  stress  and  a  fine 
terminating  vanish  with  the  drift  of  the  monotone,  will 
give  to  the  above  cited  examples  the  utmost  degree  of 
solemnity  and  supplicating  earnestness.  These  constit- 
uents are  the  true  elements  of  the  grand,  the  solemn,  the 
dignified  and  the  reverential ;  which  are  not  expressed 
by  mouthing  and  inflating  syllables,  but  by  long  quantity, 
median  swell,  and  the  fine  vanishing  movement.  The 
words  subject  to  our  remarks  are  italicised. 

Drift  of  radical  stress. 

All  lively  subjects  take  this  drift ;  the  animating  and 
the  angry  passions  under  their  varied  modifications  are 
marked  by  it ;  a  quick  time  goes  with  it. 

EXAMPLE. 

And  he  (amid  his  frolic  play,) 

As  if  he  would  the  charming  air  repay, 

Shook  thous-a.nd  od-ors  from  his  dewy  wings. 

The  tremor  may  play  upon  most  of  the  syllables  of 
the  last  line. 

The  drift  of  the  tremor,  seldom  lasts  beyond  a  few 
words.  Sometimes,  however,  united  with  the  semitone,  it 
extends  through  sentences. 

The  drift  of  the  monotone,  prevails  in  solemn  and 
plaintive  subjects. 

The  drift  of  the  alternate  phrase  is  appropriate  to  ani- 
mation of  description  and  argument ;  but  should  not  be 
applied  to  such  subjects  as  are  enumerated  under  the 
heads  of  quantity  and  median  stress. 
16* 


RECITATION  SIXTEENTH. 


FAULTS  OF  DELIVERY. 

Defects  of  the  voice. 

Few  voices  are  fully  competent  to  all  that  is  required 
of  a  public  speaker  in  addressing  large  audiences.  When 
the  space  to  be  filled  is  extensive,  where  the  difficulty  is 
increased  by  the  structure  of  buildings  ill  adapted  to  public 
speaking,  powerful  and  well  exercised  voices  will  not  be 
more  than  sufficient  to  render  a  speaker  audible  and  im- 
pressive. 

The  modes  of  improving  the  voice  have  been  fully  de- 
tailed. It  remains  to  specify  the  most  common  defects 
of  quality.  The  voice  is  sometimes  feeble,  thin,  harsh, 
nasal,  mincing,  too  shrill,  or  from  some  unknown  cause  is 
ill  adapted  to  a  clear  and  distinct  utterance  of  the  ele- 
ments. In  all  such  cases,  time  and  labor  will  be  requi- 
red for  its  improvement.  A  voice  may  be  created. 
None  of  our  powers  are  more  improveable  than  those  of 
the  voice.  To  be  agreeable  it  should  be  full,  sonorous, 
smooth  and  strong. 

Defects  of  the  slide  in  the  utterance  of  syllables. 

The  defect  is  sometimes  in  the  opening  of  syllables 
from  the  want  of  a  well  marked  radical  stress.  This 
may  be  always  removed  by  exercising  the  voice  perseve- 
ringly  in  exploding  the  elements,  and  in  forcible  abrupt 
declamation.  Oftener,  however,  it  consists  in  the  want 


FAULTS  OF  DELIVERY.  187 

of  the  lessening  volume,  during  the  progress  of  the  syl- 
labic movement  and  of  the  terminating  vanish.  Where 
the  vanishing  property  of  the  slide  is  not  marked,  there  is 
generally  a  deficient  quantity ;  and  (the  force  being 
equal  through  the  whole  syllable)  speech  sounds  rough 
and  harsh.  Its  smoothness  depends  to  a  considerable 
degree  on  the  lessening  volume  and  vanish.  These  are 
distinctly  marked  in  the  discourse  of  all  cultivated 
speakers. 

Want  of  quantity. 

Some  persons  cannot  lengthen  their  syllables  and  con- 
sequently cannot  be  deliberate.  Their  utterance  is  there- 
fore always  deficient  in  serious  dignity  and  impressiveness. 
Such  persons  cannot  use  the  emphasis  of  time,  and  ge- 
nerally employ  instead  of  it,  the  abrupt  forms  of  stress 
upon  emphatic  words.  Their  discourse,  therefore  wants 
smoothness  and  is  monotonous  from  the  frequent  recur- 
rence of  short  percussive  impulses. 

Some  give  quantity  improperly  to  their  consonant 
sounds,  and  in  that  way,  elongate  syllables  which  will  not 
bear  extension  without  a  change  of  their  sanctioned  pro- 
nunciation. Others  give  a  marked  quantity  to  words 
without  assignable  cause. 

Long  quantity,  it  should  be  recollected  makes  a  sylla- 
ble impressive,  as  compared  with  others,  and  should  not 
therefore,  be  applied  without  a  manifest  reason.  Some 
in  elongating  their  words,  drawl  them,  or  degenerate 
into  song.  This  defect  is  popularly  expressed  by  calling 
it  a  "  disagreeable  tone."  It  is  most  prevalent  in  the 
pulpit. 


188  GRAMMAR   OP    ELOCUTION. 

Defects  of  pitch. 

Some  persons  always  read  with  too  low  a  pitch.  This 
defect  is  often  united  with  great  feebleness,  and  often 
with  an  unvaried  monotony.  Persons  who  read  in  this 
manner,  cannot  conveniently  increase  their  force,  without 
raising  the  pitch  of  their  voice.  "  Raise  your  voice," 
generally  means,  be  more  forcible.  It  is  a  direction  of- 
ten given  by  the  teacher,  when  the  reader  is  becoming 
inaudible.  "Raise  the  pitch,  and  increase  the  force 
of  your  voice,"  would  be  a  more  proper  one.  The  fault 
now  described,  is  very  prevalent  in  the  reading  classes 
of  ladies'  schools. 

Some  public  speakers,  as  we  have  before  observed, 
adopt  too  high  a  pitch.  I  know  a  speaker,  who,  soon 
after  his  commencement,  runs  up  to  the  highest  note  of 
his  voice,  and  maintains  this  high  pitch,  throughout  his 
discourse,  producing  of  course  a  constant  monotony.  He 
is  withall,  very  loud,  and  never  makes  a  cadence. 

Another,  whom  I  have  occasionally  heard,  commen- 
ces his  sentences  with  a  high  and  loud  note,  and,  (run- 
ning down  through  the  octave,)  concludes  them  with  a 
low  and  feeble  one,  so  as  to  be  scarcely  audible.  This 
latter  trick  of  the  voice,  catches  attention  at  first,  but  it 
never  pleases  the  ear  long.  It  is  sometimes  the  result  of 
habit,  but  oftener  marks  the  charlatan  in  oratory. 

Defects  as  to  transition. 

Many  persons  give  no  notice  to  the  ear,  of  the  changes 
of  the  subject,  by  change  of  tone.  Transition  has  been 
fully  treated  in  a  former  part  of  this  grammar. 

The  improper  use  of  the  semitone. 

The  circumstances  which  ought  to  regulate  the  use  of 


FAULTS    OF    DELIVERY.  189 

this  element,  have  been  fully  set  forth.  It  is  a  disagree- 
able and  unmanly  whine,  except  when  called  for  by  the 
strong  expression  of  mournful  feeling.  When  employed 
to  depict  the  sorrows  of  the  heart  in  the  penitential  parts 
of  prayer,  or  to  express,  in  appeals  from  the  pulpit,  the 
language  of  genuine  pity  for  perishing  man,  it  is,  some- 
times, especially  when  happily  united  with  the  tremor,  of 
overwhelming  effect.  At  others,  it  is  the  result  of  mere 
depression  of  the  animal  spirits ;  a  depression,  we  admit, 
often  felt  by  those  who  minister  at  the  altar  of  God,  from 
causes  entitled  to  the  highest  respect  :  the  semitone, 
however,  is  misplaced,  except  when  employed  to  en- 
hance the  expression  of  sorrowful  language;  and  when 
otherwise  introduced,  it  cannot  fail  to  communicate  some 
of  the  painful  feeling  of  the  speaker,  to  the  sensitive  part 
of  his  audience. 

Faults  in  the  simple  melody. 

The  most  common  is  monotony,  arising  from  an  un- 
varied radical  pitch.  The  next  in  frequency,  is  the  jin- 
gle, arising  from  the  close  recurrence  of  the  same  com- 
binations of  melody.  This  has  been  treated  of,  page 
84.  The  formal  returns  are  sometimes  marked  by  a 
conspicuous  rise  of  the  voice,  and  sometimes  by  an  un- 
equal wave.  This  species  of  melody  is  common  in  the 
British  Parliament,  and  among  the  practised  speakers  of 
England  generally. 

Want  of  cadence. 

Some  speakers  never  bring  their  voices  to  a  full  close ; 
not  even  at  the  end  of  a  discourse.  The  repose  of  the 
cadence  at  the  termination  of  any  conspicuous  train  of 
sentiment,  is  in  the  highest  degree,  grateful  to  the  ear* 


190  GRAMMAR    OP    ELOCUTION. 

I  know  of  no  effect  of  the  voice  which  is  more  so.  The 
various  forms  shown  in  the  diagrams,  will  furnish  ample 
means  for  marking  the  termination  of  sense  and  senti- 
ments, by  appropriate  closes.  Many  persons  end  their 
sentences  so  feebly,  as  to  be  scarcely  heard.  Care 
should  be  taken,  (and  care  in  this  respect  is  much  requi- 
red,) that,  in  lowering  the  voice  in  pitch,  to  form  the  ca- 
dence, its  FORCE  is  kept  up  sufficiently,  to  render  the  close 
of  the  sentence,  perfectly  audible.  The  fault  in  question, 
as  respects  the  sense  of  a  sentence,  is  a  very  serious  one, 
and  the  means  of  prevention  are  obvious.  Let  care  be 
taken  so  to  regulate  the  general  pitch,  as  not  to  fall  too 
low  in  effecting  the  closes,  and  then  there  will  be  no  dif- 
ficulty in  making  them  sufficiently  loud  and  forcible. 

Improper  use  of  intense  slides,  and  the  under  intervals 
of  radical  pitch. 

Some  persons  have  a  recurrent  third,  or  fifth,  in  their 
delivery.  These  are  most  apt  to  return  at  emphatic 
words  and  pauses,  are  often  united  with  some  increase 
of  force,  and  are  heard  so  often  as  to  constitute  a  mono- 
tony. They  are  very  apt  to  occur  at  the  end  of  the  lines 
in  rhyme.  Frequently,  the  rise  in  question,  is  an  une- 
qual wave,  falling  a  tone,  and  rising  a  third,  or  fifth. 
This  latter  is,  like  the  simple  rise,  a  very  marked  note, 
deviating  so  much  from  the  rest  of  the  melody,  as  scarce- 
ly to  be  mistaken.  There  is  a  sort  of  submissive  apolo- 
gy, or  sentiment  of  deference  and  courtesy,  intimated  by 
the  circumflex  we  have  described,  which  subtracts  from 
the  manly  and  authoritative  character  of  speech  :  besides 
that,  as  a  mere  habit  of  the  voice,  it  has  no  assignable 
meaning.  It  therefore  constitutes  a  marked  deformity 


FAULTS    OF    DELIVERY.  191 

of  utterance  ;  for  all  those  elements  of  speech,  which, 
when  properly  used,  add  importance  to  words,  are,  when 
improperly  introduced,  absolute  blemishes. 

The  simple  melody,  is  alone  appropriate,  unless  inter- 
rogation, emphasis,  or  emotion,  authorise  a  departure 
from  it.  Persons  prone  to  the  circumflex,  can  never 
read  Milton,  or  Shakspeare,  well.  I  have  known  this 
single  fault,  (which  the  light  of  analysis  easily  detects, 
and  a  little  labor  disposes  of,)  mar  an  actor's  fortunes.  A 
fine  voice  has  not  been  sufficient  to  redeem  him. 

If  men  will  learn  the  truth  in  such  cases,  it  can  easily 
be  told.  In  all  fine  arts,  consequently  in  that  of  acting, 
A  very  few  favorites  of  nature,  are  prompted  to  excel- 
lence by  strong  and  irreversible  instinct :  but  there  are 
many  who  can  be  taught  to  do  a  thing  in  the  best  man- 
ner, who  would  never  find  it  out  for  themselves.  These 
require  the  aids  of  science,  and  can  never  reach  excel- 
lence without  them.  Often,  however,  from  a  want  of 
philosophical  comprehension,  and  from  overweening  self- 
conceit,  these  personages  are  the  least  teachable.  Hu- 
mility is  the  child  of  wisdom ;  and  it  is  the  modest,  and 
the  humble,  only,  who  repair,  with  unfeigned  reverence,  to 
the  fountains  of  philosophy,  and  in  her  "golden  urns 
draw  light."* 

I  conclude  my  remarks  on  the  employment  of  this 
circumflex  note  in  speech,  by  observing,  that  it  is  incom- 
patible with  a  sustained  impression  of  dignity. 


*  Fontes  philosophise  e  quibus  ilia  manabant. 

Cicero  Tuse  Quest. 


192  GRAMMAR    OF    ELOCUTION. 

Defects  as  respects  the  downward  slide  and  downward 
radical  pitch. 

Few  persons  have  a  command  over  the  more  intense 
downward  slides.  They  express  exclusive  emphasis,  sur- 
prise and  positiveness,  as  has  been  observed,  and  on  that  ac- 
count they  are  very  important.  They  maybe  placed  at  our 
command  by  elementary  exercise.  The  use  of  the  in- 
tenser  forms  of  the  downward  slide  are  very  impressive  ; 
but  require  from  their  difficulty  particular  cultivation. 
The  voice  is  prone  to  rise,  though  it  can  by  no  means  be 
always  said  of  it,  that  in  its  "proper  motion  it  ascends." 
The  downward  radical  pitch  should  be  diligently  practi- 
ced, as  well  as  the  slides,  upon  the  elements,  in  falls  of  a 
third,  fifth,  and  octave. 

Defects  in  the  management  of  emphasis. 

We  have  nothing  to  remark  in  addition  to  what  has 
been  already  said  on  the  misapplication  of  emphasis,  from 
a  misapprehension  of  sense.  The  remedy  for  this  is 
more  close  and  careful  analysis.  Some  persons  produce 
monotony  by  always  emphasising  their  words  in  one  way. 
The  most  common  is  that  of  the  rise  of  a  third,  or  of  a 
fifth,  or  of  an  unequal  wave.  The  frequent  use  of 
quantity,  of  mere  percussion  without  elevation  of  pitch, 
changes  of  the  quality  of  the  voice,  and  the  antagonist 
application  of  the  rising  and  falling  slide,  and  of  alternate 
rises  and  falls  in  radical  pitch,  upon  recurrent  words,  will 
give  all  necessary  variety  both  for  sense  and  beauty  of 
utterance. 

Monotony  at  the  pausal  sections. 
This  defect  as  respects  the  sense  and  the  ear  has  been 
fully  treated. 


FAULTS    OF    DELIVERY.  193 

Defects  of  enunciation. 

This  subject  has  been  also  amply  discussed. 

Violation  of  measure. 

Measure  as  a  fundamental  point  in  delivery  occupies 
a  large  space  in  this  grammar. 

Defects  as  to  force. 

This  arises  principally,  from  the  want  of  radical 
stress.  An  excess  of  force  constitutes  ranting.  The 
improper  use  of  the  vanishing  stress,  is  not  a  very 
unfrequent  fault  in  delivery.  The  circumstances  which 
ought  to  limit  its  use,  have  been  fully  explained  else- 
where. The  pronunciation  of  the  Irish,  will  ex- 
hibit the  fault  of  an  unnecessary  vanishing  stress,  in 
the  highest  degree.  The  general  current  of  discourse 
is  sometimes  too  feebly  marked  by  the  combined  and  an- 
tagonist effects  of  force  and  quantity. 

Mouthing. 

This  is  a  very  common  fault  among  young  persons, 
and  deserves  their  serious  attention  and  efforts,  to  cor- 
rect it.  Its  causes  have  been  already  explained,  page 
104. 


17 


RECITATION   EIGHTEENTH. 


PREVALENT  CIRCUMSTANCES  IN  ELEGAJVT 
SPEECH. 

ELEGANT  speech  is  marked  by  a  proper  distribution 
of  stress  and  time.  It  employs  exclusively,  the  simple 
melody  for  plain  thought,  grafting  upon  it  other  upward 
and  downward  movements,  for  purposes  of  interrogation, 
emphasis,  and  emotion.  The  slides  are  distinguished  by 
a  clear  and  full  opening,  and  those  susceptible  of  quan- 
tity, by  a  distinct  vanish,  at  their  termination.  In  digni- 
fied subjects,  the  utterance  assumes,  and  maintains,  upon 
words  of  long  quantity,  the  equal  wave  of  the  second, 
joining  with  it  median  stress,  for  purposes  of  emphasis. 
In  ordinary  discourse,  the  temporal  and  percussive  em- 
phasis, are  blended  in  due  variety,  with  the  alternation 
of  the  higher  rising  and  falling  movements.  The  semi- 
tone is  restricted  to  the  expression  of  the  plaintive  feel- 
ings, and  tremor  is  employed  on  proper  occasions,  to 
mark  grief  and  exultation.  The  intermixture  of  high 
intervals  in  the  current  melody  is  avoided,  unless  for  a 
reason  assignable  upon  an  analysis  of  the  sense. 


CIRCUMSTANCES  TO  BE  BORNE  IN  MIND, 
IN  CRITICISING  A  PUBLIC  SPEAKER. 

1 .  Is  his  voice  full,  strong,  and  agreeable  ? 


PUBLIC    SPEAKING.  195 

2.  Is  his  enunciation  exact  and  audible,  without  af- 
fected  preciseness ;    and  are  his  syllables  pronounced 
according  to  sound  usage  ? 

3.  Is  his  simple  melody  free  from  monotony  ? 

4.  Is  he  without  what  is  usually  called  a  tone,  consisting 
(according  to  a  more  technical  phraseology,)  in  a  recur- 
rent melody  ? 

5.  Is  there  the  monotony  of  a  high  note,  or  circum- 
flex,  in  his  speaking  upon  emphatic  words,  or  in  the  ge- 
neral current  of  his  discourse  ? 

6.  Are  his  emphases  so  varied  by  time,  percussion, 
and  a  properly  alternated  rise  and  fall  in  pitch,  as  to 
prevent  monotony  from  a  perceptible  recurrence  of  the 
same  kinds  ? 

7.  Do  his  emphases  of  pitch,  consist  of  a  direct  rise 
and  fall,  and  not  of  the  puling  unequal  circumflex  ? 

8.  Does  he  employ  radical  stress  with  effect  ? 

9.  Is  his  speech  marked  by  an  agreeable  use  of  quan- 
tity free  from  drawl,  or  any  mixture  of  song  ? 

10.  Are  his  consonant  elements  free  from  improper 
quantity  ? 

11.  Has  he  full  command  over  the  downward  slides 
of  the  voice,  and  over  the  downward  radical  pitch,  for 
expressing  the  positive  emotions,  and  those  of  surprise, 
and  for  marking  exclusive  emphasis  ? 

12.  Does  he  avoid  the  monotony,  of  the  vanishing 
stress  ? 

13.  Does  he  employ  the  cadence  in  proper  places  ? 

14.  Does  he  mark  his  parentheses,  paragraphs,  and 
changes  of  subjects  by  transitions  of  pitch,  time,  force, 
and  quality  of  voice  ? 


196  GRAMMAR    OF    ELOCUTION. 

15.  Are  the  vocal  powers  so  employed,  as  to  deline- 
ate the  sense  in  a  vivid  manner  ? 

16.  Is  the  semitone  at  his  command,  for  purposes  of 
pathos  ? 

17.  Can  he  employ  the  tremor  with  effect,  to  heighten 
the  language  of  sorrow  and  exultation  ? 

The  beauties  of  delivery,  above  enumerated,  are  all 
of  easy  attainment,  if  sought  for  upon  a  well  devised  and 
persevering  plan  of  elementary  instruction. 


DIRECTIONS  TO  THE   EXERCISES. 


EVERY  bar,  as  in  music,  is  to  occupy  the  same  time. 
This  time  is  to  be  consumed  in  the  pronunciation  of  the 
syllables  contained  in  the  bars,  or  the  syllables  and  pau- 
ses, or  the  pauses  alone,  where  the  whole  bar  is  devoted 
to  rest.  The  mark  A  shows  that  a  syllable  is  heavy  or 
accented ;  /.  that  it  is  light  or  unaccented.  The  mark 
7  indicates  that  a  rest,  or  pause,  is  to  be  made.  A  long 
syllable  can  be  extended  through  the  whole  time  of  a 
bar,  and  may  be  made  heavy  or  accented  in  its  opening, 
and  light  at  its  termination ;  a  short  one  cannot  fill  a  bar. 
When  the  mark  7  is  omitted  after  a  short  heavy  syllable, 
standing  alone  in  a  bar,  a  pause  is  to  be  made  as  if  it 
were  present. 

By  the  use  of  the  exercises,  it  will  soon  be  perceived 
that  most  persons  are  deficient  in  rythm.  By  an  exact 
observation  of  it,  two  consequences  will  follow ;  reading 
will  cease  to  be  laborious,  and  the  sense  will  be  rendered 
perfectly  clear,  as  far  as  it  is  dependent  on  the  capital 
point  of  the  distribution  of  time,  or  measure. 

Lastly,  the  progress  of  the  voice  is  to  be  distinct 
from  the  accented  to  the  unaccented  syllable,  or  from 
heavy  to  light,  and  not  from  light  to  heavy. 


17* 


EXERCISES. 


ODE,    ON   THE    DEATH    OF    THOMSON. 

Collins. 

The  scene  of  the  following  stanzas,  is  supposed  to  be  on 
the  Thames,  near  Richmond. 


7  In 

A  .V 

yonder 

A     /. 

grave 

A  /. 

7a   1  I 
A  .'. 

7  Where  1  slowly  1  winds  the 

A       /.            A    /.         A 

Druid 

A    /. 


lies,  7 

A    .'. 


stealing 


wave !  7 


77 
A/. 


7  The 

year's 

best 

A    .'. 

A    .'. 

A/. 

7  To 

deck 

7  its 

A  /. 

A  .'. 

A  /. 

sweets  shall 

A 


duteous 

A  /.  .'. 


rise,  7 

A     /. 


sylvan 


grave ! 


77 
A.-. 


77 


7ln 

A  /. 


yon 

AV 


bed  of 


7  His 

A    /. 
7  That 

A      /. 


deep  7 

A     .'.  |     A 

harp  I  7  shall 

A  /.      A  /. 


whispering 


airy 

A  .'. 


now  be 


reeds  7 


laid,  7 


he  7 

A  /. 


7  whose 
A     /. 


7  May 
A     /. 


love  through 

A 


heart  in 

A       /. 

1  life 

A  /. 


sorrow 
|     A    /. 

7  the    I 

A    .'. 


bleeds,  7 

A 

soothing   I 

A      .*. 


shade. 

A     /. 


77 
A  .'. 


77 
A/. 


7  The 

A    /. 


maids  and 

A 


youths 

A     /. 


7shaU 


linger  I  here,  7 


A 


And  while  its  I  sounds  at 

A         /.        /.  I       A 

7  Shall  I  sadly  I  seem 
A    /.        A  .-.      A  /. 


;  at 

distance 

swell, 

7 

.*. 

A      /. 

A 

.*. 

7  in 

pity's 

ear  7  1 

A  .'. 

A   /. 

A/. 

EXERCISES. 


7  To 

A    /. 


hear 

A  .'. 


knell. 

A    /. 


77 
A/. 


the 

77 
A/. 


woodland 

A      .'. 


7  Re-     membrance  I  oft  7 

A    /.  A        /.        I  A  /. 

7  When    I    Thames  in 

A     /.       I         A 
drest;  |   7  7 
A    /. 
oft  7 


7  shall 


haunt  the 


shore,  7 


summer 

A     /. 


A 

wreaths  is 

A 


7  And 

A    .'. 

7  To  I  bid  his 

A  .-.       A  /. 


A  / 
7  sus- 

A    /. 


gentle 

A  /. 


pend  the 
A 

I  spirit  I 
A  .'. 


dashing 

A     .'. 

oar,  7  I 
A  /.  1 

7  7  1  rest. 

77 

7  7 

^  /.      A/. 

A/. 

A/. 

7  And  I  oft  as  I  ease  and  I  health  I  7  re-  I  tire  7 


A    /.      I 

7  To 

A  .'. 

7  The 

A  -  /. 


A  /.  I     A 

breezy 

A     /. 


lawn, 

A  .'. 


friend  shall 

A 


A    /. 
7  or 

A   /. 

view    I 

A/.     I 


A  /. 

forest 

A  /. 

yon    I 

A  .'. 


A   /.  I 

deep, 7  I 

A     /.  I 
whitening 


spire,  7 

A     /.   I 

7  And    I    mid  the 
A  /.       I    A      .*. 
weep.      7  7  I 
A  /.        A  .'. 


varied 

A    /. 
7  7 
A/. 


landscape 

A        /. 


7  7 
A/. 


7  But 

A   /. 

Ah! 

A  .*. 

7  Or  I 

A  .'. 


thou, 

A  /. 


7  who 

A     /. 


what  will 

A       .'. 


every 

A  /.  .'. 


own'st  that  I 
A       /.     I 
dirge  a- 

A       /. 


tears, 
A  /. 


7  which  1  love  and 

A      /.  A      /. 


bed,  7 

A    /. 
77 


earthly 

A    .'. 

vail?  I 

A  .*.  I  A.". 
pity  I  shed,  7 
A  /.  A  /. 


200 


GRAMMAR    OP    ELOCUTION. 


7   That 

AY  ."•"••.'' 
sail! 

A  /. 


mourn 

A      /. 

7  be- 

A    /. 

Ineath 
A 

the 

gliding, 

A    /. 

7  7 

7  7 

A  .'. 

A  .'. 

Yet 

A  /. 

lives  there 

A      /. 

one, 

A  /. 

7  whose 

A      /. 

heedless 

A  /. 

eye  7 

A  /. 

7  Shall 

A    .'. 

scorn  thy 

A 

pak 

A  .' 

;  shrine  !  glimmering 
.    A    /.    !      A    .'.    .'. 

near  ?  7 

A 

7   With 

A      /. 

him, 
A  .'. 

sweet 

A 

7 

Bard 

A    /. 

7  may 
A  .*. 

fancy 

A    /. 

die  7 

A  /. 

7   And 
A      /. 

year. 

A  .'. 

7  But  i  thou 

A    /.      I    A  /. 
tide  7 

A    .'. 


7  7 
A  .'. 


77 
A/. 


7 
A 
77 


de- 


sert    the 

A         /. 


blooming 

A       /. 


7  7 
A  /. 

lorn 

A  .'. 

stream, 

A    /. 

7  whose 

A      /. 

sullen 
A    /. 

No 

sedge-crown'd 

sisters 

now 

7at- 

tend 

A/. 

A 

A    /. 

A  .'. 

A   /. 

A 

Oh 

waft  me    7  from  the 

green 

hill's 

side,  7 

A.\ 

A      /.    I  A    /.       /. 

A    .*. 

A 

t»t 

A    /. 

7  Whose 


co 


ldl  turf 

A   .V;  A   /. 


hides  the|buried 

A     .-.  IA     /. 


friend  !  1  7  7 


77 
A/. 


7  And 
A    .*. 

Dun- 

A    /. 


see,  7 


7  the 


night 

A    .'. 


fairy 

A  .'. 

7    has 


vallies 


fade,  7 


veil'd    the 

A 


solemn 

A    .'. 


view! 

A    /. 


77 
A/. 


77 

A/. 


Yet 
A/. 


once  a-  I  gain  7 


dear 

A/. 


parted  I  shade,  7 


EXERCISES. 


201 


Meek 

A    /. 


nature's 

A      .'. 


child  7  a- 

A  /.  A   /. 


gain  a- 

A     .'. 

dieu! 

A    /. 

7  The 

A    /. 

7  Thy 

A    .'. 

7  There 


genial 


meads, 


7  as- 

A  /. 


signed  to 


77 
A  .'. 


bless  7 


7  7 


life  7 

A    /. 
hinds 


7  With  (simple 


7  shall 

A    /. 

7  and 

A    /. 
hands 


mourn  thy    early    doom  !  7 


shepherd    girls  shall 


A    /. 


7  thy|  rural  I  tomb.  7 


dress  7 

A      /. 
77 


A/. 


77 


Long, 

A    /. 

7  Shall 

A     /. 


long  thy 


stone 


A 

melt  the 

A      /. 


7  and 

A    /. 


musing 

A     /. 


pointed 

A       /. 

Briton's 

A      /. 


clay  7 

A     .'. 

7  7 


eyes 


Oh! 

A   .'. 


7  In 


vales, 

A 
yonder 


and 


wild 

A  /. 


woods, 

A     /. 


7  shall  he 

A  .-.      /. 


grave 


7  your 

A     .'. 


Druid 


lies! 


A.' 

say,  71 

A    .%] 

7777 

A  /.    A  .'. 


CATHARINA, 

ADDRESSED  TO  MISS  STAPLETON. 

Cowper. 


1  She 

came  7 

7  she  is 

gone  7    7  we  have 

met  7 

A     .'. 

A       .'. 

A    .'.     /. 

A      /.  A    /. 

,*, 

A    .'. 

7  And 

meet  perhaps 

never  a 

gain; 

7 

A     /. 

A      /.     .'. 

A  /.   /. 

A 

/. 

7  The 

sun  of 

that  7 

moment 

7  is 

set,  7 

A     .'. 

A     .'. 

A     /. 

A     .'. 

A  /. 

A     .'. 

7  And 

seems  to  have 

risen  in 

vain. 

7 

A    /. 

A       /.     /. 

A  /.  /. 

A 

,\ 

202 


GRAMMAR  OF    ELOCUTION. 


7  7 

Catha- 

rina 

7 

has     fled  like  a 

dream, 

A  /. 

A    /. 

A/. 

/_. 

.* 

A      /,    /. 

A     /. 

(So 

vanishes 

pleasure 

7  a- 

las)  7 

7 

7 

A.\ 

A  /. 

.'. 

A      .'. 

A.\ 

A      /. 

A 

•*•! 

But  has 

left  7 

7  a  re- 

gret7 

7  and  es- 

teem, 

A      .'. 

A 

V. 

A. 

•% 

A     .*. 

A     K     .*. 

A  /. 

7  That 

will  not  so 

suddenly 

pass.  7 

4  /•"//;•' 

A 

A     .*.    .'. 

A      /. 

7  The 

A     /. 

last    evening 

A  /.      A     /. 

ramble 
A    .'. 

7  we 

A    /. 

made,  7 

A 

Catha- 

rina    7  Ma- 

ria    7  and 

1,7 

A  /. 

A/.     A    /. 

A.'.  A 

A   /. 

7  Our 

A     /. 

progress  was 

A      .'. 

often  de- 
A   /.    .-. 

lay'd 

A  /. 

7  By  the 

A    /.   */. 

Nightingale 

A     /.    /. 

warbling    nigh.  7 

A     /.            A      /. 

7  We 

A    /. 

paus'd  under 

A 

many  a 

tree,  7 

A      . 

7  And 

much  was 

she     charm'd    7  with  a    tone  7 

A     /. 

A 

A  .'.       A    /.        A     .'.    /.        A     /. 

Less  7 

sweet  to  Ma- 

ria  and 

me  7 

A      /. 

A      / 

A     /. 

A     /. 

Whoso 

A       /. 

lately 

A    /. 

7  had 

A    .'. 

witness'  d    7  he 
A      /.         A  /. 

r  own.  77   77 

A      A  /.  A  .' 

My 

A/. 
7  And 
A     /. 

7  As 

A    /. 


numbers 

A     .'. 


that 

A.'. 


day 


7  she  had 
A    A      /. 


sung  7 

A      /. 


gave  them  a  \  grace  so  Ji- 


A 
only  her 

A  .'.    /. 


vine, 

A 


musical 

A  /.  /. 


tongue 
A     .'. 


7  Could  in- 

A       .'. 


fuse  into 

A     /.  /. 


numbers  of 

A      .'.     /. 


mine.  7 

A 


7  7 


7  The 


longer  I  j  heard  7 


7les- 


teem'd  7 

A 


EXERCISES. 


203 


7  The 


work  of  my    fancy  the 


A  /. 


more,  7 


A     .'. 

7So 

A    .'. 


ev'n  to  my- 


A      /. 

tuneful  a 

A     .'.  .'. 


self  never  I  seem'd  7 


A       /.  . 

Poet  be-  I  fore. 

A  /.    .'.     '    A  /. 


A 
7  7,7  7 


Though  the  j  pleasures  of  j  London  ex- 


ceed  7 


7  In  number  7  the  days  of  the  year  7177 
A  /.  A  .'.  A  /.  A  /.  /.  A  /.IA  /, 
Catha-  I  rina  (did  j  nothing  im-  pede)  7 

A  /.      I  A  /.       .'.        A    /.        /.  A 


7  Would 

A 

7  For  the 

A      .'.      .'. 

7  On  the 

A    /.      /. 


feel  herself 


happier  |here.  7 


A  /.  /.  I    A 
close  woven  |  arches  of 


A 
banks 

A    .'. 


I     A 


limes  7  | 


7  of  our 


7  Are 

A    .'. 


sweeter 


A  .' 
7  to 


river,  I  7  I 


A 


her  7 

A     .*. 


lA 
many 

A  /. 


know,  7 

A 
times  7 

A      .-. 


7  Than  I  aught  that  the  j  city  can  j  show. 


A/. 


7  7 


7  7 


So  it    is  7 

A  /.     A  /. 

7  With  a 

A      /.     /. 

Then  7 

A    /. 

7  Tis 

A     .'. 


7  when  the  ,  mind  I  7  is  en-  !  dued  7 


well  judging 


taste  from  a- 


I     A      .-, 
bove,  7  I 

A       /.I 


(whether  em- 

' 


-   A     /. 

Nature  a- 

A    .'.     .-. 


bellish'd  or 


rude,)  7 


lone  7 


7  The  a- 

A     .'.     .'. 


chievements  of 


7  that  we 


art  may  a- 


love.  7 

A      /. 

muse,  7 

A 


7  May  I  even  our 


1  A 


wonder  ex- 


cite, 7 


204 


GRAMMAR    OF    ELOCUTION. 


7  But 

A    .*. 

groves,  7  1  hills  and  1  vallies,      7  dif-    fuse  7 

A        /.  1     A     /.      1     A    .'.        A    /.         A    /. 

7  A 

A  /. 

lasting, 

A    /. 

7  a   s 

A  .*.    t 

acred 

b  .'. 

7de 

A   /. 

-   light.  7    7777 

A      /.  A  /.  A   /. 

Since  then 

7 

in  the 

rural  re- 

cess  7 

A 

.*. 

A 

.* 

.  .*. 

A  /. 

.*. 

A      .'. 

Catha- 
A    .'. 

Irina  a- 
A  /.  /. 

lone  can  re-    joice  ;  7 

A      /.     /.          A 

May  it 

A    /. 

still  be  her 

A    /.     /. 

lot  to  pos- 
A  .'.     /. 

sess  7 
A    /. 

7  The 

scene 

of  he] 

*    sensible 

choice  !  7 

A     .'. 

A       .'.     /. 

A  . 

A 

7  To  in- 

habit 

a    r 

nansion  re- 

mote  7 

A    /.     .'. 
7  From  the 

A       .'. 
7  And  by 

A     /.     /. 

A  /.  /. 
j    clatter  ( 
A    /. 

Philomel' 

A  /.    /. 

A     /.     /. 

)f  street  pa 

'.       A         / 
s    annual    i 
A  .'..'. 

A      .'. 
cing  1  steeds,  7 
/.  !     A      /. 
lote  7 
A     .'. 

7  To 

measure  the 

life  that  she 

leads.  7  1 

A    /. 

A 

•'• 

•'• 

A    /. 

t't 

A        .\  | 

7  With  her 

A      /. 

book,  7 
A      /. 

7  and  her 

A    /.      /. 

voice  7      7  and  her  1 
A     ,'.     A    /.      /.    1 

lyre,  7  j 

A      .'.  1 

7  To  I  wing  all  her  I  moments  at  I  home ;  7  I 
A  .-.   I    A     /.    /.   I    A     /.     /.  I    A        /.I 
7  And  with  I  scenes  I  7that  I  new  I  rapture  in-  I  spire,7 
A     /.      /.     I    A     .'.  I  A  /.     j  A  .'.  I    A    /.     /.    j     A     /. 
7  As  |  oft  as  it  |  suits  her  to  |  roam  ;  7   | 
A    .'.    |    A  /.  .'.  I     A      .-.    .'.  |      A          I-.  | 

She  will !  have  7  I  just  the  I  life  7  |  7  she  pre-  |  fers,  7 

A      /.     j     A      /.  I    A     /.    !    A    /.  I  A  /.     /.      j    A    /. 

7  With  I  little  I  7  to  J  hope  I  7  or  to  I  fear,  7  | 
A      /.        A  .'.  I  A  /.       A  /.      A  /.  /.  [     A      .'. 


EXERCISES. 


205 


7  And  I  ours  would  be  I  pleasant  as  I  hers,  7 

A    /.      I     A         A        /.  [     A     /.     /.  f     A      /. 


Might  we 


view  her  en-  I  joying  it 


here.7  I  7  7  I  7  7 


A .'.      A/.  I 


ADAM  AND  EVE  S  MORNING  HYMN, 

Milton. 


These  are  thy 


glorious  I  works !  I   7  7  I  Parent  of 


A  /.  /. 


77 

A  /. 

Thus 


Good  !  I 

A    /.     I 

Al-jmighty ! 

A.".|    A    .*. 
wond'rous 

A 
then,  7 

A      .*. 


7  7 


thine  this 


uni-.versal 
A.-.l  A  .'. 


fair  :  7 


7thy- 


self  7 


how 

A  /. 


frame, 


wonderous 


Un-j  speakable  !  I  7  who  sitt'st  I  7  a-|  bove  7 

A  /.I      A    .*.  .'.      I  A     /.      A   .'.  |    A  .'.|    A    /. 

heavens, 

A      A 

7  To  I  us  in-  I  visible,      7  or 

A    /.  I  A   /.  I  A  /.  /. 

7  In  I  these  thy   lowest   works ;  7 


these 

A  /. 


dimly  I  seen  7. 


A  /. 


7  7 
A  /. 


Yet  7  Ithese  de- 


7|th( 


A  .'.  I     A       /. 

clare  7 

A      /. 

7  Thy  I  goodness  beyond  I  thought  I  7  and  I  power  di-l 
A  /.     I     A     /.    /.  /.      I    A    .-.    I  A  .\    I       A    .'.  1 

vine.  1  77  U7  7 

A  .%    I  A  /.  I  A  .% 

18 


206 


GRAMMAR    OF    ELOCUTION. 


Speak 

7 

ye  7 

7  ) 

A 

>*> 

A   /. 

A 

sons  of 

light, 

A      /. 

A  /. 

best  can  I  tell,  7  I   7  ye 


Angels !  I   7  for    ye  be-  hold  him, 


A 


7  and  with 


songs  7 


day  without  I  night,  7 


7  And  choral'symphonies,  7  7 

A     /.     |  A    /.  |  A     /.     /.     A  /. 

Circle  his  I  throne  I    7  re-  |  joicing.  I    7   7 


A 


7  On 

A     /. 


.-.    |     A    /.    |    A  /. 

heaven!  I  7  7 

A     /.       |   A   /. 


Ye  in 


earth,  7 

A       /. 

7to  ex-  I  tol  7 
A  /.  /.      A  /. 


join  7 

A     .'. 


all   ye 

A     /. 


Him 

first,  7 

him 

last,  7 

A/. 

A      .* 

A/. 

A     .'. 

end. 

77177 

A/. 

A  .'.  |  A  .'. 

him  I  midst 


A/.      A  /. 


creatures 

A      /. 


and   without  I 


Fairest  of 


stars !  7  I  7  7 


A  /. 


last  in  the 


train  of 


better  thou  be- 


7  If 

A  .'. 

Sure  I  pledge  of 


long  not  to  the    dawn, 


A       .' 
morn  7 

A      .', 


day, 

A/. 


7  that 


crown'st    the 


night  7 


smiling 


With  thy  I  bright  7 

A        /.    I      A 

sphere,  7 


circlet, 


7  7 


praise  him  in  thy 

A         /.     .'.    /. 


While 

A  /. 


day   a- 

A 


rises, 
A  /. 


that    sweet 

A 


hour    of 

A 


prime. 
A   .'. 


771771 
A  .*.|A  /. 


EXERCISES. 


207 


Thou 

A  /. 


7  Ac- 

A    /. 


Sun !  7  I  7  7 


7  both 

A    /. 


eye 


and 


7  of 

A  /. 

soul,  7 


this  7 


great  7 


world 


knowledge 


him  7 


thy  I  greater; 


A/. 


7   7 


sound 

A 


his 


praise 


In  thy  e- 


ternal 


A    /.    . 

And  when 

A 

thou 


course 


high  7 

A      /. 

fall'st. 


77 
A  .-. 
noon  hast 


both  when  thou 


gain'd,  7 


climb'st, 


and  when 


77 

A  /. 


7  7 
A  .'. 


Moon! 

A  /. 


7  that 
A     /. 
fly'st,  7 

A      /. 


now 

A  /. 


meet'st  the 


orient  I  sun, 
A.\  /.      A/. 


now 

A  .'. 


7  With  the 


fix'd7 


A 

flies!)  7 


stars,  7 


(fix'd  in  their 


orb  that 


7  And 


ye  7 

A  /. 
move  7 

A     /, 


five 

A  .*. 


other 
A    /. 


wand'ring 


A 


fires! 

A  /. 


7  tliat 


7  In 


His 

A  /. 


dance, 

A  /. 


mystic 
A  .-. 
sound  7 

A      /, 
praise,  |  7  who 

A    /.  fA     /. 
light  7 


7  7 
A  /. 


not  without  I  song  ! 

A      .'.     /.    j  A  /. 


7  7 


out  of 


7  7 


darkness 


call'd  7 


7  re- 


up  7 


Air,  7 


7  and  ye 


A    /. 


elements ! 

A/.     .-. 


7  the 

A    /. 


eldest  I  birth  7 

A  /.          A    /. 


208 


GRAMMAR  OF  ELOCUTION. 


7  Of 

A    /. 
7  Per- 

A     /. 

7  And 


Nature's 

A      /. 

petual 

A  .-./. 


womb, 

A    /. 
circle 

A    /. 


that  in  qua- 


A 

7  7 
A  /. 


ternion 


A  /. 
multiform  and 
A  /.  /.       /. 


run  7 
A  /. 

mix 

A/. 


nourish  I  all  things,    let  your 


Vary  to   our 

A/,     /.      /. 


praise. 

A    /. 


great 

A 

7  7 
A/. 


7  7 
A.*. 


Ye 

A/. 


mists 

A  /. 


7  and 

A    /. 


exha- 

A  .'. 


A      .'. 

Maker 

A    /. 


lations 

A    /. 


ceaseless  I  change! 

A       .'.    I     A    /.  I 
still  7  I  new  7 
A    /.A     /. 


rise  7 

A    /. 


7  From 

A      /. 


hill  or 

A    .'. 


7  Till  the 
A     ,'.      .% 


sun 

A 


steaming  |  lake, 

A      /,    I     A 

7     paint  your 

A 


7  that 

A.   /. 


dusky  or 
A    /.    /. 


now 

A  .'. 


A/. 


fleecy 
A  /. 


skirts  with 

A 


gold,  7 
A     .'. 
7  In  1  honor  to  the 

A  ,'.   I    A    /.    /.    /. 


world's 

A      .'. 


great  7 


Author 


Whether  to  |  deck  with 

A       /.     /.  I     A 


clouds  7 

A        /. 


A    /. 

7  the  un- 

A    /.    /. 


rise ;  •; 

A 

color'd 

A   **. 


sky, 

7 

A 

.*. 

7  Or 

wet  the 

thirsty 

earth  with 

falling    j 

>howers,  7 

A   /. 

A 

/. 

A    /. 

A 

/. 

A    /. 

A 

Rising 

7  or 

falling 

7 

7 

still  ad- 

vance 

7  his 

A  /. 

A  /. 

A    /. 

A 

.*. 

A 

.*. 

A   /. 

A     /. 

praise. 

77 

7 

7 

A 

t\ 

A    /. 

A 

/. 

His 

Draise,    7  ye 

winds  7 

7  that  from 

four  7 

A/. 

A     /. 

A    /. 

A 

A      . 

.*. 

A     ,% 

quarters 

blow,  7 

A 

•  ^ 

A     . 

\ 

EXERCISES. 


209 


Breathe  |  soft  or 

A      /.    |    A     /. 
7  ye 
A   /. 
7  With  I  every 

A      /.  A  /. 


loud !  7  I  7  and 


A 

pines  7 
A      /, 
plant, 


wave  your 

A        .-. 


tops,  7i 

A     /. 


7  7 

A  / 


wave. 

A  /. 


Fountains ! 

A      /. 


Me- 


7  7 
I  A  .-. 
7  and 
A  /. 

lodious 

A  /.  .'. 


7  7 
A/. 

ye  that 


7  in 

A  /. 


warble 

A   /. 


sign  of  I  worship, 

A      /.  I     A     /. 


7  as  ye 

A  /.   /. 


flow, 

A/. 


murmurs, 

A      .'. 


7  7 
A  /. 


warbling 

A      /. 


7  7 
A/. 


tune  his 

A      .'. 


praise. 

A    /. 


voices 


singing, 

A     /. 


Join 

A  /.  !    L 

7  That 

A      /. 

Bear  on  your 

A      /.      /. 

praise. 

A    /. 

Ye  that  in 

A     /.    /. 

7  The 

A      /. 


all  ye    living 


souls. 


7   7 


up  to 

A    .'. 


wings, 
A  .-. 


A  /. 

heaven's 

A    /. 

and  in  your 


7  Ye  |  birds,  7 


gate  as- 

A    /. 

notes  7 

A    /. 


A 

cend,  I 

A  /.     I 

his  7 

A  /. 


7  7 
A  / 
waters 

A  /. 


7  7 
A    / 

glide, 

A  /. 


7  and 

A    .'. 


ye  that 

A    .'. 


walk  7 

A       /, 


earth, 

A  /. 

creep !  7 

A 

Witness  if  I  I  be 

A    .'.      /.  |  A  /. 


and 


silent, 

A  /. 


stately 

A   /. 


morn 

A  /. 


tread 

A  /. 


7  or  I  lowly 
A  /.      A  .-. 


7  or 
A  /. 


even, 

A  /. 


7  To 

A    /. 
77 

A  / 


hill  or 

A     /. 


valley, 

A    /. 


fountain  or 

A     /.   /. 


fresh  7 

A     .'. 


shade, 

A   .'. 


Made 

A   /. 
praise 

A   /. 


vocal  by  my  I  song,  1 7  and   taught  7 


his  71 


A 


7  7 
A/. 


7  7 
A/. 


18* 


210 


GRAMMAR    OF    ELOCUTIONS 


Hail 
A/. 
7  To 
A   /. 


uni- 

A/. 


versal 

A    /. 


Lord! 

A  .'. 


7  7 
A/. 


7  be 

A  /. 


bounteous 

A    /.  /. 


A.\ 


give  us 
A    /. 


only    good  ;  7 

A/.        A 


7  Have 

A      /. 

7Dis- 

A    /. 


gather 'd    aught  of 


perse  it, 

A      /. 


dark. 

A/. 


7  7 
A  V. 


A 
7  as 
A  /. 
7  7 
A/. 


now 

A/. 


and  if  the 

A     .\   /. 


evil 

A.'. 
light  7 

A     / 


7  or  con- 

A  /.    /. 
7  dis- 
A    /. 


night  7  I 

A   .•;) 

ceaPd  7. 

A 

pels  the 

A     .'. 


REVELATIONS. 


CHAPTER   V. 


And  they 

A 


sang  a 

A      /. 


new 

A  /. 


art 


worthy  to 
A  /.   /. 
seals  thereof: 

A         .'.      /. 


take  tlie 
A      /. 


song,  7 
A       /. 

book, 

A   /. 


77 

A/. 


for  thou  wast 

A      /. 


saying 

A    /. 

7  and  to 
A  /.  /. 
slain, 

A  /. 


7  7 
A  /. 


Thou 

A 


open  the 

A  .'.     /. 


7  and 

A    .'. 


hast 

A 


re- 


deemed us  to 

A     /.     /.    %\ 


God 

A  /. 


every 

A    .'. 
nation ; 
A     /. 
kings  and 
A 

earth. 
A  /. 


kindred, 


7  and 


7  by  thy 

A  .'.     /. 

7  and 


blood  7 


7  7 
A/. 


and  hast 
A      /. 


tongue, 

A     .'. 

made  us 

A       .'. 


people, 

A    /. 


unto  our 
A  /.    /. 


out  of 

A     .'. 

7  and 

A    .'. 

God? 

A      .'. 


pnests : 
A     .*. 


77 
A  /. 


and  we  shall 


reign  on  the 


7  7 
A/. 


77  j  And  I  be- 
A  .-.  I    A  /.  .\ 


held, 

A  /. 


A 

7  and  I 


heard 

A 


EXERCISES. 


211 


the 


voice  of 

A      /. 


many 

A  /. 


angels 


round  a- 


bout  the 
A      /. 


throne, 

A    /. 


7  and  the 

A    .*.      .'. 


beasts,  I  7  and  the 

A    /.     1  A    /.      /. 


elders : 


7  7 


7  and  the 

A    /.      /. 


number  of  them 
A     /.   /.      /. 


7  was 
A    /. 


ten  7 

A    /. 


thousand 

A       /. 


times 

A  /. 


thousand, 

A       /. 

saying  with  a 

A    /.      /.    .'. 

that  was 


7  and 

A    /. 

loud 

A/. 
slain  7 

A      /. 


thousands  of 
A        /.      /. 


voice, 

.    A   /. 
7  to  re- 

A  /.   .'. 


77 

A  .*. 


I  thousands ; 

I      A 

Worthy  is  the 
A     /.  /.    /. 


ten  7 

A  /. 
7  7 
A  /. 
Lamb 

A 


riches, 

A    /. 

honor, 

A    .'. 


7  and 
A    /. 
7  and 
A   /. 


wisdom, 

A     /. 


ceive 

A  /. 
7  and  I 

A    .'. 


power, 

A    /. 
strength, 

A       .'. 


glory, 

A  /. 


7  and 

A   /. 


7  And 

A    .'. 

and  on  the 

A     /.    .'. 

such  as  are 

A     /.  /. 
heard  I 

A       /. 
7  and  I 
A   /. 
sitteth 

A    /. 

7  for  I 

A  /.   I 


every 

A    /. 

earth, 


creature 

A      .'. 
7  and 
A    /. 


blessing. 

A       /. 

which  is  in 

A      .'.  /. 

under  the  I  earth, 


77 
A  .'. 


7  in  the 


sea, 

A/. 


1 
7  and  I  all  that  are 

A    /.    I  A     .'.     /. 


7  and 
A   /. 
7  and 
A   /. 

7  7 
A/. 

heaven, 

A      /. 
7  and 
A    /. 
in  them, 

A 


I  in  them,  • 

I  A      A 


saying, 
I   A  /. 
glory, 

A  /. 


7  7 
A  .'. 


Blessing, 

A      .'. 


7  and  I  honor, 

A  /.    I    A  /. 


7  and  I  power, 
A    /.     I    A    /. 


be  unto 

A    /.  /. 


him  that 

A 


upon  the  I  throne,  7 


A  /. 

ever 


•.    I       A 

7  and  I  ever. 

A  /.   I  A  ,\ 


and  unto  the  I  Lamb,  7 

A     .-./.   /.     I       A       /. 

77177 

A.-.   I   A.v 


GRAMMAR  OF  ELOCUTION, 


NINTH  CHAPTER  OF  JOHN. 

And  as  |  Jesus  |  passed  |  by,  7  |  7  he  |  saw  a  |  man 
which  was  |  blind  from  his  |  birth.  |  7  7  |  7  7  |  And  his 
dis-  |  ciples  |  asked  him,  |  saying,  |  Master,  |  who  did  | 
sin,  7  |  7  this  |  man  |  7  or  his  |  parents,  |  that  he  was  | 
born  7  |  blind 5  |  7  7  |  7  7  |  Jesus  |  answered,  |  Neither 
hath  this  |  man  |  sinned  |  nor  his  |  parents :  |  7  7  |  but 
that  the  |  works  of  |  God  |  7  should  be  |  made  7  |  ma- 
nifest  in   him.  |  7  7  |  7  7  |  I  must  |  work  the  |  works 
of  |  him   that  |  sent   me,  |  while   it  is  |  day  ;   |  7  7  | 
7  the  |  night  |  cometh  |  7  when  |  no  7  |  man  |  can  7  | 
work.  7  |  7  7  |  7  7  |  7  As  |  long  |  7  as  |  I  am  in  the  | 
world,   7  |  I  am  the  |  light  |  7  of  the  |  world.  |  7  7  | 
7  7  |  When  he  had  |  thus  7  |  spoken,  |  7  he  |  spat  on 
the  |  ground,  7  |  7  and  |  made  |  clay  |  7  of  the  |  spit- 
tle, |  and  he  a-  |  nointed  the  |  eyes  7(7   of  the  | 
blind  |  man  |  7   with  the  |  clay,   7  |  7  and  |  said  unto 
him,  |  Go,  7  |  wash  in  the  |  pool  of  |  Siloam,  |  77|  (which 
is,  by  in-  |  terpre-|  tation,  |  Sent.)  7  7  |  7  7  |  7  He  |  went 
his  |  way,   |  therefore,   |  7  and  |  washed,   |  7  and  | 
came  |  seeing.  |  7  7  |  7  7  | 

7  The  |  neighbours,  |  therefore,  |  7  and  |  they  which 
be-  |  fore  had  |  seen  him,  |  that  he  was  |  blind,  |  7  7  | 
said,  7  |  Is  not  |  this  7  |  he  that  |  sat  and  |  begged  ?  j 
7  7  |  7  7  |  Some  |   said,  7  |    This  |  is  |  he ;    |  7  7  | 
others  |  said,  7  |  He  is  |  like  him :  |  7  7  |  7  but  |  he  | 
said,  |  7  I  |  am  |  he.  |  7  7  |  7  7  |  Therefore  |  said  they 
unto  him,  |  7  7  |  How  |  were  thine  |  eyes  |  opened  ?  | 
7  7  |  7  7  |  7  He  |  answered  and  |  said,  |  7  A  |  man  | 
7  that  is  |  called  |  Jesus,  |  made  |  clay,  |  7   and  a-  | 


EXERCISES.  213 

nointed  mine  |  eyes,  7  |  7  and  |  said  unto  me,  |  Go  to 
the  |  pool  of  |  Siloam,  |  7  and  |  wash :  7  |  7  7  |   7  and 
I  |  went  and  |  washed,  |  7  and  I  re-  |  ceived  |  sight.  | 
7  7  |  7  7  |  Then  |  said  they  unto  him,  |  7  7  |  Where  | 
is  he?  |  7  7  |  7  He  |  said,  7  |  7  I  |  know  not.  |  7  7  | 
77| 

7  They  |  brought  to  the  |  Pharisees  j  him  that  a-  | 
fore  time  |  7  was  |  blind.  |  7  7  |  And  it  was  the  |  sab- 
bath |  day   7  |  7  when  |  Jesus  |  made  the   |   clay,   | 
7  and  |  opened  his  |  eyes.  |  7  7  |  7  7  |  Then  a-  |  gain 
the  |  Pharisees  |  also  |  asked  him  |  how  he  had  re-  | 
ceived   his  |  sight.  |  7  7  |  7  He  |  said  unto  |    them,  | 
7  He  |  put  7  |  clay  7  |  7  upon  mine  |  eyes,  |  7  and  I  | 
washed  |  and  do  |  see.  |  7  7  |  7  7  |  Therefore  said  | 
some  of  the  |  Pharisees,  |  7  This  |  man  is  |  not  of  | 
God,   |  7  be-  |  cause  |  7  he   |  keepeth  not  the  |  sab- 
bath |  day.  |  7  7  |  Others  |  said,  7  |  How  can  a  |  man 
that  is  a  |  sinner,  |  do  such  |  miracles  ?  |  7  7  |  And  there 
was  |  7  a  di-  |  vision   a-  |  mong  them.  |  7   7  |  7   7  | 
7  They  |  say  unto  the  |  blind  |  man  a-  |  gain,  7  |  7  7  | 
What  |  sayest  |  thou  of  him  ?  |  that  he  hath  |  opened  thine  | 
eyes  ?  |  7  7  |  7  He  |  said,  7  |  He  is  a  |  prophet.  |  7  7  | 
77| 

7  But  the  |  Jews  |  did  not  be-  |  lieve  con-  |  cerning 
him  |  7  that  he  |  had  been  |  blind,  |  7  and  re-  |ceived 
his  |  sight,  |  7  un-  |  til  they  called  the  |  parents  of  |  him 
that  had  re-  |  ceived  his  |  sight.  7  7  |  7  And  they  |  ask- 
ed them,  |  saying,  |  7  7  |  Is  |  this  your  |  son,  |  who  ye  | 
say  |  7  was  |  born  |  blind?  7  |  7  7  |  how  |  then  7  |  doth 
he  |  now  7  |  see  ?  7  |  7  7  |  7  7  |  7  His  |  parents  |  answer- 
ed them  |  7  and  |  said,  |  7  7  |  7  We  |  know  that  |  this  is 
our  |  son,  7  I  and  that  he  was  |  born  |  blind  :  7  |  7  7  |  But 


214  GRAMMAR    OF    ELOCUTION. 

by  |  what  7  |  means  I  7  he  |  now  |  seeth,  |  7  we  |  know  | 
not ;  7  |  7  or  |  who  hath  |  opened  his  j  eyes,  |  7  we  |  know 
not :  |  7  7  |  he  is  of  age,  7  |  ask  7  |  him,  7  |  he  shall  | 
speak  for  him-  |  self.  7  I  7  7  |  7  7  | 

These  j  words  7  j  spake  his  |  parents,  |  7  be-  |  cause 
they  |  feared  the  |  Jews :  |  7  7  |  7  for  the  |  Jews  had  a-  | 
greed  al-  |  ready,  |  that  if  |  any  man  |  7  did  con-|  fessthat 
he  was  |  Christ,  |  he  should  be  |  put  7  |  out  of  the  | 
synagogue.  |  7  7  |  7  7  |  Therefore  |  said  his  |  parents,  | 
he  is  of  |  age,  7  |  ask  7  |  him.  7  7  7  |  7  7  | 

Then  a-  |  gain  7  |  called  they  the  |  man  that  was  | 
blind,  |  7  and  |  said,  7  |  Give  7  |  God  the  |  praise  : 
7  we  |  know  that  |  this  7  |  man  7  |  7  is  a  |  sinner. 
7  7  |  7  7  |  7  He  |  answered  and  |  said,  7  |  Whether  he 
be  a  |  sinner  or  |  no,  7  |  7  I  |  know  not ;  |  7  7  |  one 
thing  I  |  know,  |  7  that  where-  |  as  I  |  was  7  |  blind  7 
7  7  |  now7  |  71  |  see.  |  77  |  77  |  Then  7  |  said  they 
to  him  a-  |  gain,  7  |  What  |  did  he  to  thee  ?  |  7  7 
How  7  |  opened  he  thine  |  eyes  ?  |  7  7  |  7  7  |  7  He 
answered  them,  |  7  I  have  |  told  you  al-  |  ready,  |  7  and 
ye  |  did  not  |  hear :  |  7  7  |  wherefore  |  would  ye  |  hear 
it  a-  |  gain?  |  7  7  |  7  Will  |  ye  |  also  |  be  his  dis-  |  ci- 
ples  ?  |  7  7  |  7  7  |  Then  they  re-  |  viled  him,  |  7  and 
said,  |  Thou  art  |  his  dis-  |  ciple  ;  |  7  but  |  we  are 
Moses'  dis-  |  ciples.  |  7  7  |  7  7  |  7  We  |  know  that 
God  7  |  spake  unto  |  Moses :  |  7  7  |  as  for  |  this  7  |  fel- 
low, |  7  we  |  know  not  from  |  whence  he  |  is.  |  7  7 
7  7  |  7  The  |  man  |  answered  and  |  said  unto  them, 
7  7  |  Why,  7  |  herein  |  7  is  a  |  marvellous  |  thing, 
7  that  ye  |  know  not  from  |  whence  he  |  is,  7  |  7  and 
yet  he  hath  |  opened  mine  |  eyes.  |  7  7  |  7  7  |  Now  we 
know  that  I  God  7  I  heareth  not  I  sinners :  I  7  7  I  but  if 


EXERCISES.  215 

any  man  |  be  a  |  worshipper  of  |  God,  7  |  7  and  |  doeth 
his  |  will,  7  |  him  he  |  heareth.  |  7  7  |  7  7  |  Since  the  | 
world  be-  |  gan  7  |  was  it  not  |  heard,  |  7  that  |  any  man  | 
opened  the  |  eyes  of  |  one  that  was  |  bora  7  |  blind.  7  | 
7  7  ]  7  If  |  this  |  man  were  |  not  of  |  God,  |  7  he  could  | 
do   |  nothing.  |  7  7  |  7  7   |   7  They  |  answered  and  |  said 
unto  him,  |  7  7  |  Thou  wast  |  alto-  |  gether  |  born  in  | 
sins,  |  7  and  dost  |  thou  |  teach  7  |  us  ?  |  7  7  |  And  they  | 
cast  him  |  out.  |  7  7  |  7  7  | 

Jesus  |  heard  that  they  had  |  casthim  |  out;  7  |  7  and  1 
when  he  had  |  found  him,  j  7  he  |  said  unto  him,  |  7  7  | 
Dost  thou  be-  |  lieve  on  the  |  Son  of  |  God  ?  |  7  7  |  7  7  | 
7  He  |  answered  and  |  said,  7  |Who  |  is  he  |Lord  ?  |7  7  | 
that  1 1  might  be-  1  lieve  on  him  ?  |  7  7  |  7  7  |  7  And  |  Je- 
sus i  said  unto  him,  |  7  7  |  Thou  hast  both  |  seen  him,  | 
7  7  !  and  it  is  I  he  that  |  talketh  with  thee.  |  7  7  I  7  7    | 
And  he  [  said,  7  |  Lord,  j  7  I   be-  |  lieve.  |  7  7  |  And 
he  j  worshipped  him.  |  7  7  |  77  | 

7  And  |  Jesus  |  said,  7  |  7  7  |  7  For  (judgment  |7  Tam| 
come  into  this  |  world  :  |  7  7  |  7  that  |  they  which  |  see| 
not,  |  might  7  |  see ;  7  |  and  that  |  they  which  |  see,  7  | 
might  be  made  |  blind. '|  77  |  7  7|  7  And  |  some  of  the  j 
Pharisees  j7whichwere  |  with  him  |  heard  these    words,  | 
and  |  said  unto  him  |  7  7  |  7  Are  |  we  |  blind  |  also  ? 
|  7  7  |  7  7  |  Jesus  |  said  unto  them,  |  7  7  j j  If  ye  were  | 
blind,  7  |  7  7  |  ye  should  have  |  no  7  |  sin :  |  7  7  |  7  but 
|  now  ye  |  say,  7  |  7  We  |  see  ;  |  7  7  |  Therefore  | 
7  your  |  sin  re-  |  maineth.  |  7  7  |  7  7  | 


216  GRAMMAR    OF    ELOCUTION. 


SPEECH  OF  THE  EARL  OF  CHATHAM,  ON  THE  SUBJECT 
OF  EMPLOYING  INDIANS  TO  FIGHT  AGAINST  THE  AMER- 
ICANS. 

I  |  cannot,  |  7  my  |  Lords,  7  |  7  I  |  will  not,  |  join  in 
con-  |  gratu- 1  lation  |  on  mis- 1  fortune  |  7  and  dis-  grace. | 
7  7  |  7  7  |  This  7  my  |  lords,  7  |  7  is  a  |  perilous  |  7  and 
tre-  |  mendous  |  moment ;  |  7  7  |  7  it  is  not  a  |  time  for  | 
adu-  |  lation :  |  7  7  |  7  the  |  smoothness  of  |  flattery  |  can- 
not |  save  us  |  7  in  this  |  rugged  and  |  awful  |  crisis.  |  7  7  | 
7  7  |  7  It  is  I  now  |  necessary  |  7  to  in-  |  struct  the  |  throne  | 
7  in  the  |  language  of  |  truth.  |7  7  |  7  7  |  7  We  |  must,  7  | 
7  if  |  possible,  |  7  dis-  |  pel  the  de-  |  lusion  and  |  darkness  | 
7  which  en-  |  velope  it ;  |  and  dis-  |  play,  7  |  7  in  its 
full  |  danger  |  7  and  |  genuine  |  colors,  |  7  the  |  ruin 
7  which  is  |  brought  to  our  |  doors,  j  7  7  |  7  7  |  Can 
ministers  |  still  pre-  |  sume  to  ex-  |  pect  sup-  |  port  7 
in  their  in-  |  fatu-  |  ation  ?  |  7  7  |  7  Can  |  Parliament 
7  be  |so  |  dead  to  its  |  dignity  and  |  duty,  |  7  as  to  |  give 
its  sup-  |  port  7  |  7  to  |  measures  |  thus  ob-  |  truded 
and  |  forced  up-  |  on  it  ?  |  7  7  |  Measures,  ]  7  my  | 
lords,  7  ]  which  have  re-  |  duced  this  |  late  |  flourishing 

|  empire  |  7  to  j  scorn  and  con-  |  tempt?  |  7  7  |  But  | 
yesterday,  |  7  and  |  England  |  might  have  |  stood  against 
the  !  world;  |  7  7  |  now,  7  |  none  so  ]  poor  |  7  as  to  | 
do  her  |  reverence  !  |  7  7  |  7  The  |  people,  |  (whom  we 
at  |  first  de-  |  spised  as  |  rebels,  |  7  but  |  whom  we  |  now 
ac-  |  knowledge  as  |  enemies,)  |  T  are  a-  |  betted  a-  | 
gainst  us,  |  7  sup-  |  plied  with  |  every  |  military  |  store, 

|  7  their  j  interest  con-  |  suited,  |  7  and  their  am-  |  bas- 
sadors  |  enter-  |  tained  |  7  by  our  in-  |  veterate  |  enemy ; 


EXERCISES.  217 

|  7  7  |  7  and  |  ministers  |  do  not,  j  7  and  |  dare  not,  j 
inter-  |  pose  ;7with  |  dignity  |  7  or  ef-  |  feet.  |  7  7  |  7  7  | 
7  The  |  desperate  |  state  of  our  |  army  a-  J  broad  ]  7  is  in 
|  part  7  |  known.  |  7  7  |  7  7  |  No  man  |  7  more  |  highly 
es-  |  teems  and  |  honors  the  |  English  |  troops  |  7  than 
j  I  do :  |  7  7  |  7  I  |  know  their  |  virtues  |  7  and  their  | 
valor;  |  7  7  |  7  I  |  know  they  can  a-  |  chieve  7  |  any 
thing  |  but  im-  |  possi-  |  bilities ;  |  7  7  |  and  I  |  know  | 
that  the  |  conquest  of  |  English  A-  |  merica  |  is  an  im- 
|  possi-  |  bility.  |  7  7  |  7  7  |  7  You  |  cannot,  |  7  my  | 
Lords,  |  7  you  |  can-  |  not  7  |  conquer    A-  |  merica.  | 
7  7  |  7  7  |  What  is  your  |  present  |  situ-  |  ation  |  there  ? 
|  7  7  |  7  We  |  do  not  |  know  the  |  worst :  |  7  7  |  but 
we  |  know  that  in  |  three  |  campaigns  |  7   we  have  | 
done  |  nothing  |  7  and  |  suffered  |  much.  7  |  7  7  |  7  7 
|  You  may  |  swell  every  ex-  (  pense,  |  7  ac-  |  cumulate 
|  every  as-  |  sistance,  |  7  and  ex-  |  tend  your  |  traffic 
|  7  to  the  |  shambles  of  |  every  [German  J  despot;  | 
77  |  your  at-  |  tempts  7  |  7  will  |  be  for-  |  ever  |  vain  and 
|  impotent;  |  7   7  |  doubly  |  so  7  |  7  in-  |  deed,   7 
from  this  |  merce-  |  nary  |  aid  I  7  on  |  which  you  re- 
ly ;  7  |  7  7  |  for  it  |  irritates,    |  7  to  an  in-  |  curable  re- 
sentment, |  7  the  i  minds  of  your  |  adversaries,  |  7  to 
over-  |  run  them  I  with  the  I  mercenary  !  sons  of  |  rapine 
and  !  plunder,  |  7   de-  I  voting  |  them    and    their  pos- 
sessions |  7  to  the  ra-  !  pacity  of  i  hireling  !  cruelty. 
7  7 |7  7 | 

But  |  7  my  !  Lords,  |  who  is  the  |  man,  7  |  that  in  ad- 

|  dition  1 7  to  the  dis-  |  graces  and  |  mischiefs  of  the  |  war, 

|  7  has  |  dared  to  I  authorize  |  7  and  as-  |  sociate  to  our 

I  arms,  |  7   the  |  tomahawk  |  7   and  I  scalping  |  knife   of 

the  |  savage  ?  |  7  7  |  7  to  |  call  into  |  civilized  al-  1  liance, 

19 


218  GRAMMAR  OF    ELOCUTION. 

|  7  the  |  wild  and  in-  !  human  in-  I  habitants  |  7  of  the  | 
woods?  |  7  7] 7  to  |  delegate  |  7  to  the  j  merciless  I  Indian, 

I  7  the  de-  |  fence  of  dis-  |  puted  |  rights,  |  7  and  to  | 
wage  the  |  horrors  of  his  ]  barbarous  |  war — 7  a-  |  gainst 
our  |  brethren  ?  |  7  7  j  7  7  |  7  My  |  Lords,  |  these  e-  | 
normities  |  cry  a-  |  loud  |  7  for  re-  |  dress  and  |  punish- 
ment. [  7  7  |  But  my  |  Lords  |  7  this  |  barbarous  |  mea- 
sure |  has  been  de-  |  fended,  |  7  7  [  not  |  only  on  the  | 
principles  of  |  policy  |  7  and  ne-  |  cessity,  |  7  but  |  also 
on  |  those  of  mo-  |  rality ;  |  7  7  |  "  for  it  is  |  perfectly 
al-  |  lowable,"  |  says  |  Lord  j  Suffolk,  |  7  "to  |  use  |  all 
the  ]  means  |  7  which  |  God  and  |  Nature  |  7  have  |  put 
into  our  |  hands."  |  7  7  |  7  7  |  I  am  as-  |  tonished,  |  7  I 
am  |  shocked,  |  7  to  I  hear  such  |  principles  con-  I  fess- 
ed  ;J  7  7  |  7  to  I  hear  them  a-  |  vowed  in  |  this  I  house,  I 
or  in  |  this  I  country.  I  7  7  |  7  7  |  7  My  |  Lords  \  7  1 1  did 
not  in-  |  tend  to  en-  |  croach  so  |  much  7  |  7  on  your  at- 
tention ,  |  7  7  |  but  I  |  cannot  re-  |  press  my  |  indig-  |  na- 
tion |  7  7  |  7  I  |  feel  my-  |  self  im-  |  pelled  to  |  speak.  | 
7  7  |  7  7  |  7  My  |  Lords  |  7  we  are  |  called  upon  |  7  as  | 
members  of  this  |  house,  |  7  as  |  men,  7  |  7  as  |  Chris- 
tians, |  7  to  pro-  |  test  against  |  7  such  |  horrible  bar- 
barity !  |  7  7  |  7  7  |  "  That  |  God  and  |  nature  |  7  have 
put  into  our  |  hands!"  |  7  7  |  What  i-|  deas  of  |  God  and 
nature,  |  that  |  noble  |  Lord  may  |  enter-  |  tain,  |  7  I 
know  not ;  |  7  7  |  but  I  |  know  that  |  such  de-  |  testable 
principles  |  7  are  |  equally  ab-  |  horrent  |  7  to  re-  |  ligion 
7  and  hu-  |  manity.  |  7  7  |  7  7  |  What  7  |  7  to  at-  |  tri- 
bute the  |  sacred  |  sanction  |  7  of  |  God  and  |  nature  |  7  to 
the  |  massacres  |  7  of  the  |  Indian  |  scalping  |  knife  !  |  7  to 
the  |  savage,|  torturing|  7and  |  murdering  |7  his  un-  |  hap- 
py  |  victims !  |  7  7  |  7  7  |  Such  |  notions  |  shock  7  |  every 


EXERCISES.  219 

|  sentiment  of  |  honor.  |  7  7  |  7  7  |  These  a-  |  bominable  | 
principles,  |  7  and  this  [more  a-  |  bominable  a-  |  vowal  of 
|  them,  |  7  de-  |  mand  the  |  most  de-  |  cisive  |  indig-  |  na- 
tion. |  7  7  |  7  7  |  7  1 1  call  upon  |  that  |  right  7  |  reverend, 
1 7  and  |  this  most  |  learned  |  Bench,  |  7  to  |  vindicate  |7the 
re-  |  ligion  of  their  |  God  7  |  7  to  sup-  |  port  the  |  justice 
of  their  |  country.  |  7  7  |  7  7  |  7  1 1  call  upon  the  |  Bishops 
|  7  to  |  inter-  |  pose  the  un-  |  sullied  |  sanctity  of  their  | 
lawn,  |  7  7  |  upon  the  |  Judges  |  7  to  |  inter-  |  pose  the  | 
purity  of  their  |  ermine,  |  7  to  |  save  us  from  |  this  pol-  | 
lution.  |  7  7  |  7  7  |  7  I  |  call  upon  the  honor  of  your  | 
lordships,  |  7  to  |  reverence  the  |  dignity  of  your  |  ances- 
tors |  and  to  main-  |  tain  your  |  own.  |  7  7  |  7  7  |  7  1 1  call 
upon  the  |  spirit  |  7  and  hu-  |  manity  |7of  my  |  country,  | 
7  to  |  vindicate  the  |  national  |  character.  |  7  7  |  7  7  1 1  in- 
|  voke  the  |  Genius  of  the  |  British  |  consti-  |  tution.  |  7  7  | 
7  7  |  From  the  |  tapestry  |  7  that  a-  |  dorns  |  these  |  walls, 
|  7  the  im-  |  mortal  |  ancestor  |7of  this  |noble|  lord  |frowns 
with  |  indig^  |  nation  |  7  at  the  dis-  |  grace  of  his  |  country.  | 
7  7  |  7  7  |  7  In  |  vain  did  |  he  de-  |  fend  the  |  liberty,  | 
7  and  es-  I  tablish  the  re-  |  ligion  of  |  Britiain,  |  7  a-  | 
gainst  the  |  tyranny  of  |  Rome,  |  if  these  |  worse  than  | 
Popish  |  cruelties,  |  7  and  in-  |  quisi-  |  torial  |  practices,  | 
are  en-  |  dured  a-  |  mong  us.  |  7  7  |  7  7  |  7  To  |  send 
forth  the  |  merciless  |  Indian,  |  7  7  |  thirsting  for  |  blood  !  7 1 
7  a-  |  gainst  |  whom  ?  |  7  7  |  your  |  protestant  |  brethren !  | 
7  7  |  7  to  |  lay  7  |  waste  their  |  country,  |  7  to 
|  desolate  their  |  dwellings,  |  7  and  ex-  |  tirpate  their  | 
race  and  |  name,  |  7  by  the  |  aid  and  |  instrumen-  |  tality 
of  |  these  un-  |  governable  |  savages !  |  7  7  |  7  7  |  Spain 
can  |  no  |  longer  |  boast  |  7  pre-  |  eminence  |  7  in  bar-  | 
barity.  |  7  7  |  7  7  |  She  |  armed  herself  7  |  with  |  blood 


220  GRAMMAR    OF    ELOCUTION. 

hounds  |  7  to  ex-  |  tirpate  the  |  wretched  |  natives  of  | 
Mexico  ;  |  7  7  |  we,  |  more  |  ruthless  |  loose  those  |  bru- 
tal |  warriors  |  7  a-  gainst  our  |  countrymen  |  7  in  A-  | 
merica,  |  7  en-  |  deared  to  us  |  7  by  |  every  |  tie  |  7  that 
can  |  sanctify  hu-  |  manity.  |  7  7  |  7  7  |  7  I  |  solemnly  | 
call  upon  your  |  lordships,  |  and  upon  |  every  |  order  of  | 
men  in  the  |  State,  |  7  to  stamp  upon  |  this  7  |  infamous 
pro-  |  cedure  7  the  in-  |  delible  |  stigma  |  7  of  the  |  pub- 
lic ab-  |  horrence.  |  7  7  |  7  7  |  More  par-  |ticularly,  |  7  I 
|  call  upon  the  |  venerable  |  prelates  |  7  of  our  re-  |  h"gion, 
|  7  to  |  do  a-  |  way  this  i-  |  niquity :  |  7  7  |  let  them  per-  | 
form  a  lus-  |  tration  |  7  to  |  purify  the  |  country  |  7  from 
this  |  deep  7  |  7  and  |  deadly  |  sin.  |  7  7  |  7  7  | 

7  My  |  Lords,  7  |  7  I  am  |  old  |  7  and  |  weak,  |  7  and 
at  |  present  |  7  un-  I  able  to  |  say  |  more ;  I  7  7  |  but  my  | 
feelings  and — indig-  |  nation  I  7  were  1  too  |  strong  to  | 
have  al-  |  lowed  me  to  |  say  |  less.  |  7  7  |  7  7  |  7  I  | 
could  not  have  |  slept  7  |  this  7  |  night  |  in  my  |  bed,  | 
7  nor  |  even  re-  |  posed  my  |  head  |    upon  my  |  pillow,  | 
7  with-  |  out  7 1  giving  |  vent  to  my  |  stedfast  ab-  |  horrence 
|  7  of  |  such  e-  |  normous  |  7  and  pre-  |  posterous  |  prin- 
ciples. |  7  7  |  7  7  | 


ON  THE  BEING  OF  A  GOD. 

Young. 

7  Re-  j  tire ;  7  |  7  the  |  world  7  |  shut  7  |  out ;  7  |  7  thy  | 

thoughts  |  call  |  home  :  | 
7  I-  |  magi-  |  nation's  |  airy  |  wing  7  |  7  re-  |  press ;  7|7  7| 


EXERCISES.  221 

Lock  up  thy  |  senses ;  |  7  7  |  let  no  |  passion  |  stir ;  7  | 
Wake  |  all  to  |  reason :  |  7  7  |  7  let  ( her  7  |  reign  a-  | 

lone ;  7  | 
7  7  |  Then  7  |  7  in  thy  |  soul's  |  deep  7  |  silence,  |  7  and 

the  |  depth  7  | 
7  Of  |  nature's  |  silence,  |  7  7  |  midnight,  |  7  7  |  thus  in- 1 

quire,  7  | 
7  As  |  I  have  |  done ;  7  |  and  shall  in-  |  quire  no  |  more,  j 

77|77| 

7  In  |  nature's  |  channel  |  thus  the  |  questions  |  run.|  7  7  1 7  7 1 
"What|  aml?|  7  and  from  |  whence  ?  |  7  7  |7l  |  no- 

thing  |  know,  7 1 
But  that  1 1  am ;  |  7  7  |  7  and  |  since  I  |  am,  |  7  con-  | 

elude  7  | 
Something  e-  |  ternal :  |  7  7  |  had  there  |  e'er  been  | 

nought,  | 
Nought  I  still  had  |  been :  |  7  e-  |  ternal !  7  there  |  must  | 

be.  7  |  7  7  |  7  7  [ 
7  But  |  what  e-  |  ternal?  |  7  7  |  Why  not  |  human  | 

race  ?  |  7  7  | 
7  And  |  Adam's  |  ancestors  |  7  with-  |  out  an  |  end  ?  7  | 

.   77 | 77 | 
That's  |  hard  to  be  con-  |  ceived ;  7  |  7  since  |  every  | 

link  7  | 
7  Of  |  that  |  long  7  |  chained  sue-  |  cession  |  7  is  |  so  7  | 

frail ;  7  | 
7  Can  |  every  |  part  de-  |  pend,  7  |  7  and  |  not  the  | 

whole?|  7  7  | 

7  Yet  |  grant  it  |  true ;  7  |  new  |  difficulties  |  rise ;  7  | 
7  I'm  |  still  |  quite  7  |  out  at  |  sea :  7  |  7  nor  |  see  the  | 

shore.  |  7  7  |  7  7  | 

19* 


222  GRAMMAR    OF    ELOCUTION. 

Whence  |  earth,  7  |  7   and  |  these  |  bright  |  orbs  ?   7  | 

7  E-  |  ternal  |  too?  |  7  7  | 
7  7  |  Grant  |  matter  |  7  was    e-  |  ternal  ;  |  7    7  |  still 

these  |  orbs  7  | 
7  Would  |  want  some  j  other  |  father ;  |  7  7  |  much  de-  | 

sign  7  | 
7  Is  |  seen  in  |  all    their  |  motions,  |  7   7  |  all  their 

makes ;  |  7t  7  j 

7  De-  |  sign  |  7  im-  |  pliesin- 1  telligence  |  7 and  |  art  7|7  7  | 
That  7  |  can't  be  |  from  them-  |  selves  |  7  or  |  man ;  7  | 

that  7  |  art  7  | 
Man  |  scarce  can  |  compre-  |  hend,  7  |  7  could  |  man  | 

7  be- |  stow?  7  | 
7  And  |   nothing  |   greater  |  yet  al-  |  low'd  |  7  than  | 

man,  7  |  7  7  | 

Who,  |  motion,  |  7  7  |  foreign  to  the  |  smallest  |grain,  | 
Shot  through  |  vast  7  |  masses  I  7  of  e-|  normous  |  weight?  7  | 
7  7  |  Who  |  bid  7  |  brute  7  |  matter's  |  restive  |  lump  as-| 

sume  7  | 
7  Such  |  various  |  forms,  7  |  7  and  |  gave  it  |  wings  to  | 

fly  ?  I  7  7  | 
Has  |  matter  |  innate  |  motion?  |  7  7  |  then  7  |  each  7  | 

atom,  | 

7  As-  |  serting  its  in-  |  disputable  |  right  7  | 
7  To  |  dance,  |  7  would  |  form  an  |  universe  of  |  dust :  7  | 
7  Has  |  matter  |  none  ?  |  7  7  |  Then  7  |  whence  those  | 

glorious  |  forms  | 
7  And  |  boundless  |  flights,  7  |  7  from  |  shapeless  |  7  and 

re- |  posed?  |  77  | 

7  Has  |  matter  |  more  than  |  motion?  |  has  it  |  thought,  | 
Judgment  and  |  genius  ?  |  7  7  |  Is  it  |  deeply  |  learned  | 


EXERCISES.  223 

7  In  |  mathe-  |  matics  ?  |  7  7  |  Has  it  |  framed  |  such  7  | 

laws,  | 
Which  but  to  |  guess  7  |  7  a  |  Newton  |  made  im-  | 

mortal?  | 
7  If  |  so,  7  |  how  7  |  each  7  |  sage  |  atom  |  laughs  at  j 

me,  7  | 

7  Who  |  think  a  |  clod  in-  |  ferior  |  7  to  a  |  man !  7  | 
7  If  |  art  to  |  form  ;  |  7  and  |  counsel  to  con-  |  duct ;  7  | 
7  Re-  |  sides  not  |  7  in  |  each  7  |  block ;  7  |  7  a  |  God- 
head |  reigns.  |  7  7  |  7  7  | 

Grant  7 1  then  7  1 7  in- 1  visible  1 7  e-  |  ternal  |  mind ;  |7  7  | 
That  |  granted,  |  all  is  |  solved  |  7  7  |  But  7  |  granting  | 

that  7  | 

Draw  I  not  |  o'er  me  |  7  a  still  |  darker  |  cloud  ?  7  | 
Grant  I   not  |  that   7  |  which   I    can  |  ne'er  |   con-  | 

ceive  ?  |  7  7  | 

7  A  |  Being  |  without  |  origin  |  7  or  |  end !  |  7  7  |  7  7  | 
Hail  |  human  |  liberty !  |  7  there  |  is  no  |  God !  7  | 
7  Yet  |  why?  7  |  7  on  |  either  |  scheme  |  that  7  |  knot 

sub-  |  sists ;  7  | 
7  Sub-  |  sist  it  |  must,  7  |  7  in  |  God,  7  |  7  or  |  human  | 

race : 

If  in  the  |  last,  7  |  7  how  |  many  |  knots  be-  |  side,  7  | 
7  In-  |  dissoluble  |  all?  |  7  7  |  7  7  |  Why  |  choose  it  | 

there,  7  | 
Where   |  chosen  |  still  sub-  |  sist  7  |  ten  |  thousand  | 

more  ?  |  7  7  | 
7  Re-  |  ject  it,  |  where   |  that  |  chosen  |  7  7 1  all  the  | 

rest  7  | 
7  Dis-  |  persed  |  leave  |  reason's  |  whole  ho-  |rizon  | 

clear?    77 


224  GRAMMAR  OF  ELOCUTION. 

This  is  not  |  reason's  |  dictate,  |  7  7  |  reason  |  says  7  | 
Choose  with  the  |  side  7  |  7  where  |  one  7  |  grain  |  turns 

the  |  scale ;  |  7  7  | 
7  What  |  vast  pre-  |  ponderance  |  7  is  |  here !  |  7  7  | 

7  can  |  reason  | 
7  With  |  louder  |  voice  ex-  |  claim  |  7  Be-  |  lieve  a  | 

God  ?  7  |  7  7  | 
7  And  |  reason  |  heard  |   7  is  the  |  sole  |   mark  of  | 

man.  7  |  7  7  | 
What  |  things  |  7  im-  |  possible  |  7  must  |  man  |  think  | 

true,  7  | 
7  On  |   any  |  other  |  system !  |  7  7  |  7  and  |  how  7  | 

strange  | 
7  To  |   disbe-    |  lieve    |   7  through   |    mere  ere-  |  du- 

lity !"  |  7  7  |  7  7  | 
If  7  |  7  in  |  this  |  chain  |  7  Lo-  |  renzo  |  finds  |  no  7  | 

flaw,  7  | 

Let  it  for-  |  ever  |  bind  him  |  7  to  be-  |  lief.  |  7  7  | 
7  And  |  where  the  |  link  |  7  in  |  which  a  |  flaw  he  | 

finds?  |  7  7  | 
And  7  |    if  a  |  God  there  |  is,  7  |  that  |  God  |  how  | 

great !  |  7  7  |  7  7  | 


THE    GRAVE. 

Montgomery. 

There  is  a  |  calm  7  |  for  I  those  who  |  weep,  7  |  7  7 
7  A  |  rest  7 1  7  for  |  weary  |  pilgrims  |  found,  7  | 


EXERCISES.  225 

7  They  |  softly  |  lie,  7  |  7  and  |  sweetly  sleep,  7  | 
Low  in  the  ground.  |  7  7  |  7  7  | 

7  The  |  storm  |  7  that  |  wrecks  the  |  wintery  |  sky  7  | 
No  |  more  dis-  |  turbs  7  |  their  |  deep  re-  |  pose,  7  | 
7  Than  |  summer  |  evening's  |  latest  |  sigh  7  |  7  7  | 

7That  |  shuts  |  7  the  |  rose.7 1  7  7  j  7  7  | 

7  I  |  long  to  |  lay  |  7  this  |  painful  |  head  7  | 

7  And  |  aching    heart  7  |  7  be- 1  neath  the  |  soil,  7  | 

7  To  |  slumber  in  that  |  dreamless  |  bed  7  | 

7  From  |  all  |  7  my  |  toil.  |  7  7  |  7  7  | 

7  For  |  misery  |  7  7  |  stole  me  |  7  at  my  |  birth  7  | 
7  And  |  cast  me  |  helpless  |  7  on  the  |  wild  :  7  |  7  7  | 
7  I  |  perish  ;  |  7  7  |  O  my  |  mother  |  earth  7  | 

Take  |  home  |  7  thy  |  child.  |  7  7  |  7  7  | 

On  thy  |  dear  |  lap  7  |  these  |  limbs  re-  |  clined,  7  | 
7  Shall  j  gently  |  7  7  |  moulder  |  7  into  |  thee ;  7  | 
7  Nor  |  leave  |  one  |  wretched  |  trace  be-  |  hind,  7  | 

7  7  |  7  Re-  |  sembling  |  me.  7  |  7  7 1 7  7 1 

Hark  !  7   |   7  a  |  strange  |  sound  |  7   af-  |  frights  mine 

ear;  7|  77  | 

7  My  |  pulse,  |  7  my  |  brain  |  runs  |  wild,  |  7 1 1  rave :  7  | 
7  7 1  Ah  !  |  who  art|  thou  whose |  voice  1 1  hear?  7  7  7 1  7  7 1 
1  am  the    Grave  !  |  7  7  |  7  7  | 

7  The  |  Grave  7  |  7  (that  |  never  |  spake  be-  |  fore,  7   | 
7  Hath  |  found  at  |  length  a  |  tongue  |  7  to  |  chide :  7  | 
O  |  listen  I  |  7  7  |  I  will  |  speak  no  |  more :  | 

7  7  |  7  Be  |  silent,  |  Pride.  |  7  7  |  7  7  | 


226  GRAMMAR    OF    ELOCUTION. 

Art  thou  a  |  wretch,  7  |  7  of  |  hope  |  7  for-  |  lorn,  7  | 
7  The  |  victim  |  7  of  con-  |  suming  |  care  ?  7  |  7  7  j 
Is  thy  dis-  |  traded  |  conscience  |  torn  7  | 

7  By  |  fellde-|spair?|7  7|  7  7| 

7  Do  |  foul  mis-  |  deeds  7  |  7  of  |  former  |  times  7  | 
Wring  with  re-  |  morse  thy  |  guilty  |  breast  ? 
7  And  |  ghosts  |  7  of  |  unfor-  |  given  |  crimes  | 
Murder  thy  |  rest  ?  |  7  7  |  7  7  | 

Lash'd  by  the  |  furies  |  7  of  the  |  mind,  7  | 

7  From   |   wrath  and  |   vengeance   |   7  would'st  thou 

flee  ?  7  |  7  7  | 
Ah!  |  think  not,  |  hope  not,  |  fool,  7  |  7  to  |  find  7  | 

7  A  !  friend  |  7  in  |  me.  7  |  7  7  |  7  7  | 

7  By  |  all  the  |  terrors  of  the  |  tomb,  7  | 

7  Be-  |  yond  the  |  power  of  [  tongue  |  7  to  |  tell  7  | 

7  By  the  |  dread  |  secrets  of  my  |  womb  7  | 

7  By  |  death  |  7  and  |  hell  ?  | 

7  I  |  charge  thee  |  live?  |  7  re-  |  pent  and  |  pray;  7  | 

7  In  |  dust  thine  |  infamy  de-  |  plore  ;  7  | 

7  There  |  yet  is  |  mercy ;  |  7  7  |  go  thy  |  way  7  | 

7And  |  sin?  |  7no  |  more.  |  7  7  |  77| 

7  What  |  e'er  thy  |  lot  7  |  7  who  |  e'er  thou  |  be,  7  | 
7  Con-  |  fess  thy  |  folly,  |  7  7  |  kiss  the  |  rod,  7  | 
And  in  thy  |  chastening  |  sorrows  |  see  | 

7The  |  hand  |  7  of  |  God.7  |  7  7  |  77  | 

7  A  |  bruised  |  reed  7  |  7  he  j  will  not  |  break ;  7  |  7  7  | 
7  Af-  |  flictions  |  aU  his  |  children  |  feel;  7  |  7  7  | 


EXERCISES.  227 

7  He  |  wounds  them  |  7  for  his  |  mercy's  |  sake,  7  j 

7  He  i  wounds  |  7to  |  heal!|77|77| 

Humbled  be-  |  neath  his  |  mighty  ]  hand,  7  | 
Prostrate  |  7  his  |  Providence  a-  |  dore :  | 
7  'Tis  |  done !  7  |  7  a-  j  rise !  7  |  7  7  |  He  |  bids  thee  | 
stand,  7  | 

7  To  |  fall  |  7  no  |  more.  |  7  7  |  7  7  | 

Now  j  traveller  in  the  |  vale  of  |  tears  !  | 

7  To  |  realms  of  ever-  |  lasting-  |  light  7  | 

7  Through  |  time's  |  dark  |  wilderness  |  7  of  |  years,  7 

7  Pur- 1  sue  |  7  thy  |  flight.  7  |  77  1 7  7  | 

7  There  |  is  7  |  7  a  |  calm  for  |  those  who  |  weep,  7  | 
7  A  |  rest  7  |  7  for  |  weary  |  pilgrims  |  found ;  | 
77(7  And  |  while  the  j  mouldering  |  ashes  |  sleep  7  | 
Low  in  the  |  ground ;  | 

7  The  I  soul  7  |  7  (of  |  origin  |  7  di- 1  vine  7  | 
God's  |  glorious  |  image,)  |  7  7  |  freed  from  |  clay  7  | 
7  In  |  heaven's  |  7  e-  |  ternal  |  sphere  shall  |  shine  7  | 

7  A  |  star  |  7  of  |  day  !  |  7  7  |  7  7  | 

7  The  |  sun    is  but  a  |  spark  of  |  fire,  7  |  7  7  | 
7  A  |  transient  |  meteor  |  7  in  the  |  sky,  7  |  7  7  | 
7  The  |  soul  |  7  im-  |  mortal  |  7  as  its  |  sire  7  | 

7  7  |  Shall  |  never  |  die.  |  7  7  |  7  7  | 


228  GRAMMAR  OF  ELOCUTION. 


THE    POPLAR    FIELD. 

Cowper. 

7  The  |  poplars  are  |  fell'd,  |  7  7  |  fare  |  well  |  7  to  the  | 

shade,  7  | 
7  And  the  |  whispering  |  sound  of  the   |   cool    |   colo-  | 

nade ;  7  | 
7  7  |  7  The  |  winds  |  play  no  |  longer  |  7  and   |  sing  in  | 

the  leaves,  | 
7  Nor  |  Ouse  |  7  on  his  |  bosom  |   7  their  |   image    |  7 

re-  |  ceives.  |  7  7  |  77  | 

Twelve  |  years  |  7  have  e-  |  lapsed,  7  |  since  I  |  last  7  | 

took  a  |  view  7  | 
7  Of  my  |  favorite  |  field,  7  |  7  and  the  |  bank  where 

they  |  grew ;  7  | 
7  And  |  now  in  the  |   grass  |  7  be-  |  hold  they  are  | 

laid,  7  | 
7  And  the  |  tree  |  7  is  my  |  seat,  7  |   7  tliat  |  once  7  | 

lent  me  a  |  shade.  |  7  7  |  7  7  | 

7  The  |  Blackbird   |   7  has  |  fled  to  an-  |   other  re-  | 

treat,  7  | 
Where  the  |  hazels  |  7   af-  |  ford  him  a  |  screen   from 

the  |  heat,  7  | 
7  And  the  |  scene  |  7  where  his  |  melody  |  charm'd  me 

be-  |  fore,  7  | 
7  Re-  |  sounds   |  7  with  his  |  sweet  |  flowing  |  ditty  | 

7  no  |  more.  7  |  7  7  |  7  7  | 

My  |  fugitive  j  years  |  7  are  |  all  |  hasting  a-  |  way,  7  |  7  7  | 
7  And  |  I  must  ere  |  long  7  |  lie  as  |  lowly  as  |  they,  7  | 


EXERCISES.  227 

7  With  a  |  turf  on  my  |  breast,  7  |  7  and  a  |  stone  at 

my  |  head,  7  | 
Ere  an-  |  other  such  |  grove   |  7  shall  a-  |  rise  in  its  | 

stead.  7  |  7  7  |  7  7  | 

7  'Tis  a  |  sight  to  en-  |  gage  me  |  7  if  |  any  thing  |  can  | 
7  To    |    muse   |    7  on  the    |   perishing    |   nature  of  | 

man ;  7  |  7  7  | 
Though  his  |  life  7  |  be  a  |  dream,  7  |  7  his  en-  j  joy- 

ments,  |  7  I  |  see,  7  | 

7  Have  a  |  being  |  less  7  |  durable  |  7  7  |  even  |  7  than 
he.  7     7  7     7  7 


THE    ROSE. 

Cowper. 

7  The  1  rose  had  been  |  wash'd,  7  |  just  7  |  wash'd  in  a  | 

shower,  7  | 

7  Which  |  Mary  to  |  Anna  |  7  con-  |  vey'd;  7  |  7  7  | 
7  The  |  plentiful  |  moisture  |  7   en-  |  cumbered  the   | 

flower,  7  | 
7  And  |  weigh' d  down  |  7  its  I  beautiful  |  head.|  7  7| 

7  The  |  cup  was  all  |  fill'd  7  |  and  the  |  leaves  were 

all  |  wet,  7  | 

7  And  it  |  seem'd  to  a  |  fanciful  |  view  7  | 
7  To  |  weep  for  the  |  buds  7  |  it  had  |  left  with  re-  | 

gret  7  | 

On  the  |  flourishing  |  bush  I  7  where  it  |  grew.  |  7  7|7  7| 

20 


228  GRAMMAR    OF    ELOCUTION. 


I  |  hastily  |  seized  it  |  7  un-  |  fit  as  it  |  was  7  | 
7  For  a  |  nosegay,  |  7  so  |  dripping  and  |  drown'd  |7  7| 
7  And  |  swinging  it  |  rudely,  |  too  |  rudely  a-  |  las !  7  | 
71  |  snapp'dit  |  7  it  |  fell  |  7  to  the  |  ground.  |  77|77  | 

7  And  |  such  7  j  1  ex-  |  claim'd  |  7  is  the  |  pitiless  | 

part,  I  7  7  | 

Some  7  |  act  by  the  |  delicate  |  mind ;  | 
7   Re-  |  gardless  |  7  of  |  wringing   and  |  breaking   a  | 

heart  | 
Al-  1  ready  to  1  sorrow  re-  |  sign'd.  |  7  7  |  7  7  | 

7  This  |  elegant  |  Rose,  |  7  had  I  |  shaken  it  |  less,  | 

Might  have  |  bloom'd  with  its  |  owner  a  |  while  ;  | 

7  And  the  |  tear  that  is  |  wiped  |  7  with  a  |  h'ttle  ad-  | 

dress,  7  | 
May  be  |  followed  |  7  per- 1  haps  7  1 7  by  a  |  smile.   7  7  |  77  | 


PARABLE  OF  THE  PRODIGAL  SON. 

Luke  xv. 

7  And  |  Jesus  |  said,  |  7  A  |  certain  |  man  |  7  had  | 
two  |  sons :  |  7  7  |  7  And  the  |  younger  of  them  |  said 
to  his  |  father,  |  7  7  |  Father,  |  give  me  the  |  portion 
of  |  goods  |  7  that  |  falleth  to  me.  |  7  7  |  And  he  di-  | 
vided  unto  them  |  7  his  |  living.  |  7  7  |  7  7  | 

7  And  |  not  7  |  many  |  days  |  after  [  7  the  |  young- 
er |  son  7  |  gathered  |  all  to-  |  gether,  |  7  and  |  took 
his  |  journey  |  into  a  |  far  |  country,  |  7  and  |  there  7  | 
wasted  his  |  substance  |  7  with  |  riotous  |  h'ving.  |  7  7  | 


EXERCISES.  229 

7  7  I  7  And  |  when  he  had  |  spent  7  |  all,  |  7  there  a-  | 
rose  a  |  mighty  |  famine  |  7  in  |  that  |  land :  |  7  7  |  And 
he  be-  |  gan  to  be  in  |  want.  7  j  7  7  |  7  7  |  7  And  he  | 
went  and  |  joined  himself  |  7  to  a  |  citizen  |  7  of  that  j 
country :  |  7  7  |  7  and  |  he  |  sent  him  |  into  his  fields  | 
7  to  |  feed  7  |  swine.  |  7  7  |  7  7  |  And  he  would  |  fain 
have  |  filled  himself  |  7  with  the  |  husks  that  the  |  swine 
did  |  eat :  7  |  7  7  |  7  but  |  no  7  |  man  |  gave  unto  him.  | 
7  7  |  7  7  |  7  And  when  he  came  to  |  himself,  |  7  he  j 
said,  7  |  7  7  |  How  many  |  hired  |  servants  of  my  |  fa- 
ther's |  have  '  bread  e-  |  nough  |  7  and  to  |  spare,  |  7  and 
|  I  |  perish  with  |  hunger !  |  7  7  |  7  7  |  I  will  a-  |  rise  |  7 
and  |  go  to  my  |  father,  7  and  will  |  say  unto  him,  |  7  7  [ 
Father,  |  7  I  have  |  sinned  against  |  heaven,  |  7  and  be-  [ 
fore  |  thee,  7  |  7  and  am  |  no  7  more  |  worthy  to  be  | 
called  thy  |  son :  |  7  7  |  make  me  as  |  one  of  thy  |  hired  | 
servants.  |  7  7  |  7  7  I  7  And  I  he  a-  |  rose,  |  7  and  |  came 
to  his  |  father.  |  7  7  |  7  7  | 

7  But  |  when  he  was  |  yet  |  7  a  |  great  |  way  |  off,  | 
7  his  |  father  |  saw  him,  |  7  and  |  had  com-  |  passion,  | 
7  and  |  ran,  |  7  and  |  fell  on  his  |  neck,  |  7  and  |  kissed 
him.  |  7  7  |  7  7  |  7  And  the  |  son  |  said  unto  him,  |  7  7  | 
Father,  |  7  I  have  |  sinned  against  |  heaven,  |  7  and  in  | 
thy  7  |  sight,  |  7  and  am  |  no  7  |  more  |  worthy  to  be  | 
called  thy  |  son.  7  |  7  7  |  *7  7  |  But  the  |  father  |  said  to 
his  |  servants,  |  7  7  |  Bring  forth  |  7the  best  7  |  robe,  7  | 
7  and  |  put  it  |  on  him ;  |  7  7  |  7  and  |  put  a  ring  on  his  | 
hand,  7  |  7  and  |  shoes  on  his  |  feet :  7  |  7  7  |  7  and  | 
bring  7  |  hither  the  |  fatted  |  calf,  |  7  and  |  kiU  it ;  |  7  7  | 
7  and  |  let  us  |  eat  7  |  7  and  be  |  merry :  |  7  7  |  7  For  | 
this  my  |  son  |  7  was  |  dead,  7  |  and  is  a-  |  live  a-  | 


230  GRAMMAR    OF    ELOCUTION. 

gain ;  |  7  7  |  he  was  |  lost,  |  7  and  is  |  found.  |  7  7  |  And 
they  be-  |  gan  to  be  |  merry.  |  7  7  |  7  7  | 

Now  his  |  elder  |  son  7  |  was  in  the  |  field  :  |  7  7  |  And 
as  he  |  came  and  |  drew  7  |  nigh  to  the  |  house,  |  7  he  | 
heard  |  music  and  |  dancing.  |  7  7  |  7  7  |  7  And  he  | 
called  |  one  of  the  |  servants  |  7  and  |  asked  |  7  what  | 
these  |  things  |  meant.  |  7  7  |  7 ""  |  7  And  he  |  said  un- 
to him,  |  7  Thy  |  brother  is  come ;  |  7  7  |  7  and  thy  | 
father  |?hath  |  killed  the  |  fatted  |  calf,7  7  be-  |  cause  he 
hath  re-  |  ceived  him  |  safe  and  |  sound.  |  7  7  |  7  7  | 
And  he  was  |  angry,  |  7  and  |  would  not  |  go  |  in :  |  7  7  | 
therefore  |  came  his  |  father  |  out,  7  |  7  and  in-  |  treated 
him.  |  7  7  |  7  7  |  7  And  he  |  answering  |  said  to  his  |  fa- 
ther, |  7  7  |  Lo  these  |  many  |  years  7  |  7  do  |  I  |  serve 
thee,  |  7  7  |  neither  trans-  |  gressed  I  at  |  any  |  time  | 
7  thy  com-  |  mandment :  |  7  7  |  7  and  |  yet  thou  |  never  | 
gavest  |  me  a  |  kid,  7  |  that  I  might  |  make  |  merry  with 
my  |  friends :  |  7  7  |  But  as  |  soon  as  |  this  thy  |  son  | 
7  was  |  come,  7  |  which  hath  de-  |  voured  thy  |  living 
with  |  harlots,  |  thou  hast  |  killed  for  |  him  |  7the  |  fatted  | 
calf.  I  7  7  |  7  7  |  7  And  he  |  said  unto  him,  7  7  |  Son,  7  | 
thou  art  |  ever  |  with  me,  |  7  and  |  all  that  I  |  have  is  | 
thine.  |  7  7  |  7  7  |  It  was  j  meet  that  |  we  should  make  | 
merry,  |  7  and  be  |  glad  :  |  7  7  |  7  for  |  this  thy  |  brother  | 
7  was  |  dead  |  7  and  is  a-  |  live  a-  |  gain ;  |  7  and  was  | 
lost,  |  7  and  is  |  found.  |  7  7  |  7  7  j 


EXERCISES.  231 


PSALM    CXXXIX. 

O  I  Lord,   7  |  thou   hast   |    searched  me,   |  7  and 
known  me.  |  7  7  J  7  7  |  7  Thou  |  knowestmy  |  down 
sitting  |  7  and  mine  |  up  7  |  rising,  |   7  thou    |    uuder- 
standest  my  |  thoughts  |  7  a-  |  far  |   off.  7  |  7  7  |  7  7 
Thou  |  compassest  my  |  path,  7    |    7  and  my   |   lying 
down,  7  |  and  art  ac-  |  quainted  with  |  all  my  |  ways.  |  7 
7  |  For  there  is  |  not  a  |  word  in  my  |  tongue,  |  7  but  | 
lo,  7  |  O  7  |  Lord  |  thon  7  |  knowest  it  1  alto-  j  gether.  ! 
7  7  |  7  7  |  Thou  hast  be-  |  set  me  |   7  be-  |  hind   and 
be-  |  fore,  7  |  7  and  |  laid  thine  |  hand  upon  me.  |  7  7  | 
7  7  |  Such  7  |  knowledge  is  |  too  |  wonderful  for  |  me  :  | 
7  7  |  it  is  |  high  7  |  7  I  |  cannot  at-  |  tain  unto  it.  |  7  7| 
77  |  Whither  shall  I  I  go  7  |  7  from  thy  |  spirit?  |  77  |  7 
or  |  whither  shall  I  |  flee  from  thy  j    presence  ?    |  7  7  | 
7  7  |  If  I  as-  |  cend  7  |  up  into    I  heaven,   |  7  7  j   thou 
art  |  there :  |  7  7  |  if  I  |  make  my  |  bed  in  |  hell  |  7  be- 
|  hold,  7  |  thou  art  |  thdre.  |  7  7  |  7  7  |  If  I  I   take  the 
wings  of  the  |  morning  |  7  and  |   dwell  in  the   |   utter- 
most |  parts  of  the  |  sea :  7  |  7  7  |  Even  |  there  |  7  shall  | 
thy  7  |  hand  7  |  lead  me,   |  7  and  thy  |   right  7  |  hand 
shall  |  hold  me.  |  7  7  |  7  7  |  If  I  |  say,  7  |  Surely  the  | 
darkness  shall  |  cover  me  :  |  7  7  |  even  the  |  night  7  | 
7  shall  be  |  light  about  me :  |  7  7  j  Yea  |   7  the  j   dark- 
ness |  hideth  not  from   |  thee ;  |  7  7  |  but  the    |  night  | 
shineth  as  the  |  day:  |  7  7  |  7  the  |  darkness  |   and  the 
1  light  7  |  7  are  |  both  a-  |  like  to  |  thee.  |  7  7  |  7  7  j 


232  GRAMMAR  OF  ELOCUTION. 

AGAINST  PROCRASTINATION. 

Young. 

7  Be  |  wise  to-  |  day ;  7  |  7  'tis  |  madness  |  7  to  de-  | 

fer ;  7  |  7  7  | 

Next  |  day  |  7  the  |  fatal  |  precedent  |  7  will  |  plead,  |  7  7  | 
Thus  |  on,   7  |  7  till  |  wisdom  |  7  is  |  pushed  |  out  of  | 

life.  7  |  7  7  |  7  7  | 

7  Pro- 1  crasti-  |  nation  |  7  is  the  |  thief  of  |  time;7  |  7  7  |  7  7  | 
Year  after  |  year  it  |  steals,  |  7  till  |  all  are  |  fled,  7  | 
And  to  the  |  mercies  of  a  |  moment  |  leaves  7  | 
7  The  |  vast  con-  |  cerns  |  7  of  an  e-  |  ternal  |  scene.  7  | 

77|77| 

If  |  not  so  |  frequent,  |  would  not  |  this  be  |  strange  ?  7  | 
7   That  |  'tis   so  |  frequent,  |  this    is  |  stranger  |  still.    | 

77|77| 

7  Of  |  Man's  mi-  |  raculous  mis-  |  takes,  7  |  this  7  | 

bears  7  | 
7  The  |  palm,  7  |  7  that  |  all  men  |  7  are  a-  |  bout  to  | 

live,  7  | 

7  For  |  ever  |  7  on  the  |  brink  of  |  being  |  born.  |  7  7  |  7  7  | 
All  |  pay  themselves  the  |  compliment  to  |  think  | 
7  They  |  one  day  |  shall  not  |  drivel ;  |  7  and  their  |  pride  7  | 
7  On  |  this  re-  |  version  |  takes  up  |  ready  |  praise,  7  | 
7  At  |  least  their  |  own  :  |  7  their  |  future  |  selves  |  7  ap-| 

plaud  ;  7  |  7  7  |  7  7  | 
How  |  excellent  j  that    7  |  life  |  7    they  |  ne'er    will    | 

lead!  7  |  7  7  | 
Time  |  lodged  in   their  |  own  |  hands  |  7  is  |  folly's   | 

vails ;  |  7  7  [ 


EXERCISES.          /hj  fll  V  EW6-I  T 

That  7  |  lodged    in  |  fate's,  |  7     to  |  ttjsdqin  |  7    they 

con-  |  sign  ;  |  7  7  | 
7  The  |  thing  they  |  can't  but  |  purpose,  |  7  they  post-  | 

pone ; 7  | 

'Tis  not  in  |  Folly,  |  not  to  |  scorn  a  |  fool ;  7  7  | 
7   And  |  scarce  |  7  in  |  human  |  wisdom,  |  7  to  |  do  | 

more.  7  |  7  7  |  7  7  | 

All  |  promise  |  7  is  |  poor  |  dilatory  |  man,  7  | 
7  And  |  that  7  |  7  through  |  every  |  stage  :  |  7  7  |  7  when  | 

young,  |  7  in-  |  deed,  7  | 

7  In  |  full  con-  |  tent  we  |  sometimes  |  nobly  |  rest  7  | 
7  Un-  |  anxious  for  our-  |  selves ;  7  |  7  and  |  only  |  wish,7| 
7  As  |  duteous  |  sons,  7  |  7  our  |  fathers  |  7  were  more  | 

wise.  7  |  7  7  | 
7  At  |  thirty  |  7  7  |  man  |  7  sus-  |  pects  himself  |  7  a  | 

fool ;  7  |  7  7  | 

Knows  it  at  |  forty,  |  7  and  re-  |  forms  his  |  plan ;  |  7  7  | 
7  At  |  fifty  |  7  7  |  chides  his  |  infamous  de-  |  lay,  7  | 
7  7  |  Pushes  his  |  prudent  |  purpose  |  7  to  re-  |  solve ;  | 
7  In  |  all  the  |  magna-  |  nimity  of  |  thought  7  | 
7  Re-  |  solves ;  7  |  7  and  |  re-re-  |  solves ;  7  |  then  7  | 

dies  the  |  same.  |  7  7  |  7  7  | 


* 

EXTRACT    FROM    COWPER5S    TASK. 

Book  5. 

7  Ac-  I  quaint  thyself  with  |  God,    7   |   7   7  |  if  thou 

would'st  |  taste  7  | 
7  His  |  works.  |  7  7  |  7  Ad-  |  mitted  |  once  to  |  his  em- 1 

brace  7  I 


234  GRAMMAR    OF    ELOCUTION. 

Thou  shalt  per-  |  ceive  7  |  that  thou  wast  |  blind  be-  j 

fore:  |  77  | 
7  Thine  |  eye  shall  be  in-  j  structed ;  |  7  7  |  and  thine  | 

heart,  7  | 
Made  7  |  pure,  |    7  shall  |  reb'sh   with   di-  |  vine  de-  | 

light  7  | 
7   Till  |  then   un-  |  felt,    7  |  7  what  |  hands   di-  |  vine 

have  |  wrought.  |  7  7  | 
Brutes   |  graze  tlie  |  mountain  |   top,  |  7  with  |   faces  | 

prone  | 

7  7  |  7  And  |  eyes  |  7  in-  j  tent  |  7  upon  the   scanty  |  herb,  7  | 
7   It  |  yields  them  ;    |    7   7  |  or  re-  |  cumbent  on  its  | 

brow  7  | 

Ruminate  |  7  7  |  heedless  |  7  of  the  |  scene  out- 1  spread  7  | 
7  Be-  |  neath,   |   7  be-  |  yond  7  |  7   and  |  stretching  | 

far  a-  |  way  7  | 

7  From  |  inland  |  regions  |  7  to  the  |  distant  |  main.|  7  7  |  7  7  | 
Man  |  views  it,  |  7  and  ad-  |  mires ;  |  7  7*  |  7  but  |  rests 

con-  |  tent  7  | 
7  With  |  what  he  |  views.  |  7  7  |  7  The  |  landscape  |  has 

his  |  praise,  | 
7   But  |  not  its  |  author.   |  7    7  |   Uncon-  |  cerned   7  | 

who  |  formed  7  | 

7  The  |  paradise  he  |  sees,  |  7  he  |  finds  it  |  such  7  | 
7  And  |  such  7  |  well  |  pleased  to  |  find  it,  |  7  7  |  asks 

*no  |  more.  |  7  7  |  7  7  | 
Not  |  so  the  |  mind  7  |  that  has  been  |  touched  from  | 

heaven,  | 

And  in  the  |  school  of  |  sacred  |  wisdom  |  7  7  |  taught  7  | 
7  To  |  read  7  |  his  7  |  wonders,  |  7  in  |  whose  |  thought  | 

7  the  |  world,  7  |  7  7  | 
Fair  as  it  |  is,  7  |  7  ex-  j  isted  |  ere  it  |  was  :  |  7  7  |  7  7  | 


EXERCISES.  235 

Not  for  its  |  own  |  sake  7  |  merely,  [  but  for  |  his  7  | 
Much  |  more,  |  7  who  |  fashioned  it,  |  7  he  |  gives  it  | 

praise  ;  |  7  7  | 
Praise  |  7  that  from  |  earth  re-  |  suiting,  |   7  7  |   as  it  | 

ought  7  |  7  7  | 
7  To|earth's  ac-  |  knowledged  |  sovereign,  |  7  7  |  finds  at  | 

once  7  | 

7  Its  |  only  |  just  pro-  |  prietor  |  7  in  |  Him.  7  |  7  7 1  7  7  | 
7  The  |  soul  that  |  sees  him,  |  or  re-  |  ceives  sub-  | 

limed  7  | 

New  |  faculties,  |  7  or  |  learns  at  |  least  to  em-  |  ploy  7  | 
More  |  worthily  |  7  the  |  powers  she  |  owned  be-  | 

fore,  7  | 

7  Dis-  |  cerns  in  |  all  things  |  what  with  |  stupid  |  gaze  | 
7  Of  |  ignorance,  |  7  till  |  then  she  |  over-  |  looked,  7  | 
7  A  |  ray  of  |  heavenly  |  light,  7  |  gilding  all  |  forms  7  | 
7  Ter-  |  restrial  |  7  in  the  |  vast  and  the  mi- 1  nute ;  |  7  7 1 
7  The  |  unam- 1  biguous  |  footsteps  |  7  of  the  |  God,  7  | 
7  Who  |  gives  its  |  lustre  |  7  to  an  |  insect's  |  wing, '7  | 
7  And  |  wheels  his  |  throne  7  |  upon  the  |  rolling  | 

worlds.  |  7  7  |  7  7  | 
Much    |    conversant  with    |    heaven,    |  7  she  |  often  | 

holds  7  | 

7  With  |  those  j  fair  |  ministers  of  |  light  to  |  man,  j 
7  That  |  fill  the  |  skies  7  |  nightly  with  |  silent  |  pomp,  7  j 
Sweet  |  conference.  |  7  7  |  7  7  |  7  In-  |  quires  what  | 

strains  were  |  they  7  | 
7  With   |   which  7  |  heaven  |  rang,  |  7  when  |  every  | 

star  in  |  haste  | 

7  To  |  gratulate  the  |  new-created  |  earth,  7  | 
Sent  forth  a  I  voice,  7  I  7  and  I  all  the  I  sons  of  |  God  7  j 


236  GRAMMAR    OF    ELOCUTION. 

Shouted  for  |  joy.7  |  7   7  |  7  7  |  "Tell  me,  |  7   ye  | 

shining  |  hosts,  7  | 

7  That  |  navigate  a  |  sea  that  |  knows  |  no  7  |  storms,  7  | 
7  Be-  |  neath  a  |  vault  un-  |  sullied  with  a  |  cloud,  |  7  7 1 
If  from  your  |  ele-  |  vation,  |  7  7  |  whence  ye  |  view  | 
7  Dis- 1  tinctly  |  7  7  |  scenes  1 7  in-  |  visible  to  |  man,  |  7  7  | 
7  And  |  systems,  |  7  of  whose  |  birth  no  |  tidings  |  yet  7  | 
7  Have  |  reached  this  |  nether  |  world,  |  7  7  |  7  ye  | 

spy  a  |  race  7  | 
Favoured  as  |  ours ;  |  71  \  trans-  |  gressors   from  the  | 

womb,  7  | 
7  And  |  hastening  to  a  |  grave,  7  |  yet  7  |  doomed  to  | 

rise,  7  | 

And  to  pos-  |  sess  a  |  brighter  |  heaven  than  |  yours  ?  7  7  \ 
7  As  |  one  who  |  long  de-  |  tained  on  |  foreign  |  shores,  7 1 
Pants  to  re-  |  turn  |  7  7  |  and  when  he  |  sees  a-  |  far  | 
7  His  |  country's  |  weather  bleached  |  7  and  |  battered  | 

rocks,  7  | 

7  From  the  |  green  |  wave  e- 1  merging,  |  darts  an  |  eye  7  | 
Radiant  with  |  joy  7  |  towards  the  |  happy  |  land ;  |  7  7 1 
So  7  |  I  |  7  with  |  animated  |  hopes  be-  |  hold,  7  | 
7  And  |  many  an  |  aching  |  wish,  |  7  7  |  your  |  beamy  | 

fires,  7  | 

7  That  |  show  like  |  beacons  |  7  in  the  |  blue  a-  |  byss,  7  | 
7  Or-  |  dained  to  |  guide  the  em-  |  bodied  |  spirit  |  home  | 
7  From  |  toilsome  |  life  7  |  7  to  |  never-  |  ending  | 

rest.  7  |  7  7  | 
Love  |  kindles  |  7  as  I  |  gaze.  |  7  7  |  7  I  |  feel  de-  | 

sires,  | 
7    That  |  give    as-   |  surance   of  their   |   own   sue-  | 

cess,     7  7  | 


EXERCISES.  237 

And  that  in-  |  fused  from  |  heaven  7  |  must  7  |  thither  | 

tend.  7  |  7  7  |  7  7  | 
So  |  reads  |  he  7  |  nature,  |  7  7  |  whom  the  |  lamp  of  | 

truth  | 
7  II-  |  luminates.  |  7  7  |  7  7  |  Thy  |  lamp  7  |  7  mys-  | 

terious  |  word  !  |  7  7  | 
7  Which  |  whoso  |  sees  |  7  7  |  7  no  |  longer  |  wanders  | 

lost  7  | 

7  With  |  intellects  be  |  mazed  in  |  endless  |  doubt,  |  7  7  | 
7  But  |  runs  the  |  road  of  |  wisdom.  |  7  7  |  7  7  |  Thou 

hast  |  built  | 
7   With  |  means,   7  |  7   that  |  were   not  |  till  by  |  thee 

em-  |  ployed,  |  7  7  | 
Worlds,   that  had  |  never  |  been  |  7  hadst  |  thou  in  | 

strength  | 
7    Been  |  less,   7  |  7   or  |  less   be-   |  nevolent  than  | 

strong.  |  77  |  77  | 
They  are   thy  |  witnesses,   |   7   7  |  who  |  speak  thy  | 

power  | 

7  And  |  goodness  |  infinite,  |  7  but  |  speak  in  |  ears,  | 
7  That  |  hear  not,  |  7  or  re-  |  ceive  not  |  their  re-  | 

port.  |  7  7  |  7  7  | 

7  In  |  vain  |  7  thy  |  creatures  |  testify  of  |  thee,  | 
7  Till  |  thou  pro-  |  claim  thy-  |  self.  |  7  7  |  7  7  |  Theirs 

is  in-  |  deed  | 

7  A  |  teaching  |  voice  ;  7  |  but  'tis  the  |  praise  of  |  thine  | 
7  That  |  whom  |  it  |  teaches  |  7  it  |  makes  7  |  prompt 

to  |  learn,  | 
7  7  |  And  with  the   |  boon  7  |  gives  |  talents  |  7  for  its  | 

use.  |  7  7  |  7  7  | 
7   Till  |  thou  |  7  art  |  heard,   |  7  i-  |  magi-  |  nations  | 

vain   I 


238  GRAMMAR   OF    ELOCUTION. 

7  Pos-  |  sess  the  |  heart ;  |  7  7  |  7  and  |  fables  |  false 

as  |  hell,  | 

Yet  |  deemed  o-  |  racular,  |  lure  |  down  to  |  death,  7  | 
7  The   |   unin-  |   formed  and   |    heedless   |  souls  of  | 

men.  |  7  7  |  7  7  | 
We  |  give   to  |  chance,  7  |  blind  |  chance,  7  |  7  our-  | 

selves  as  |  blind  | 
7  The  |  glory  of  |  thy  |  work ;  |  7  7  |  7  which  |  yet  ap-  | 

pears  7  | 

Perfect  |  7  and  |  unim-  |  peachable  of  |  blame,  |  7  7  | 
Challenging  |  human  |  scrutiny,  |  7  and  |  proved  7  | 
Then  |  skilful  |  most  |  when  most  se-  |  verely  |  judg- 
ed. |  7  7  |  7  7  | 
7  But  |  chance  is  |  not ;  |  7  7  |  7  or  |  is  not  |   where   | 

thou  |  reignest:  |  7  7  | 

Thy  |  providence  |  7  for-  |  bids  that  |  fickle  |  power  7  | 
(7  If  |  power  she  |  be  7  |  7  that  |  works  but  to  con-  | 

found)  7  | 
7   To  |  mix  her  |  wild   va-  |    garies  |  7   with   |    thy 

|  laws.  |  7  7  | 

Yet  |  thus  we  |  dote,  |  7  re-  |  fusing  |  7  while  we  |  can  | 
7  In-  |  struction,  |  7  and  in-  |  venting  |  7  to  our-  |  selves  7  [ 
Gods  |  such  as  |  guilt  7  |  makes  |  welcome ;  |  7  7  |  Gods 

that  |  sleep  | 

7  Or  |  disre-  |  gard  our  |  follies,  |  7  or  that  ]  sit  7  | 
7  A-  |  mused  spec-  |  tators  |  7  of  this  |  bustling  |  stage.  | 

77|77| 

Thee  |  we  re-  |  ject  7  |  un-  |  able  to  a-  |  bide  7  | 
Thy   7  |  purity,   |   7   till   |   pure   |   7   as   |   thou   art  | 

pure;  |  7  7  | 
Made  |  such  by  |  thee,  |  7  we  |  love  thee  |  7  for  |  that  7  | 

cause   I 


EXERCISES.  239 

7  For  |  which  we  |  shunned  and  |  hated  thee  |  7  be-  | 

fore.  |  7  7  |  7  7  | 
Then   are   we  |  free.    7  |  7    7  |  7    7  |  Then  |  liberty  | 

7  like  |  day,  | 
Breaks  on  the  |  soul,  |  7    7  |  and   by  a  |  flash  from  | 

heaven  7  | 

Fires  |  all  the  |  faculties  |  7  with|  glorious  |  joy.|  7  7  |  7  7 1 
7  A  |  voice  is  |  heard,  |  7  that  |  mortal  |  ears  7  |  hear  7  | 

not  7  | 
7  Till  |  thou  hast  |  touched  them ;  |  7  'tis  the  |  voice  of  | 

song,  7  | 

7  A  |  loud  ho-  |  sanna  |  sent  from  |  all  thy  |  works ;  7  | 
7  Which  |  he  that  |  hears  it  |  7  with  a  |  shout  re-  | 

peats,  7  | 
7  And  |  adds   7  |  his  7  |  rapture  |  7  to  the  |  general  | 

praise.  |  7  7  | 
7  In  |  that  7  |  blest  |  moment  |  7  7  |  Nature,  |  throwing  | 

wide  7  | 

7  Her  |  veil  o-  |  paque,  |  7  dis-  |  closes  with  a  |  smile  7  | 
7  The  |  author  of  her  |  beauties,  |  7  who  |  7  re-  |  tired  | 
7  Be-  |  hind  his  |  own  ere-  |  ation,  |  works  un-  |  seen  7  | 
By  the  im-  |  pure,  |  7  and  |  hears  his  |  power  de-  | 

nied.  |  7  7  |  7  7  | 

Thou  art  the  |  source  |  7  and  |  centre  of  |  ah1  |  minds,  | 
7  Their  |  only  |  point  of  |  rest,  7  |  7  e-  |  ternal  | 

word  !  |  7  7  | 
7  From  |  thee  de-  |  parting,  |  7  7  |  they  are  |  lost  7  |    7 

and  |  rove  | 
7  At  |  random  |  7  with-  |  out  7  |  honour,  [  hope,  7  |  7 

or  |  peace.  |  7  7  |  7  7  | 

7  From  |  thee  is  |  all  that  |  soothes  the  |  life  of  |  man,  | 

7  His  |  high  en-  |  deavour,  |  and  his  |  glad  sue-  |  cess,  7  | 

21 


240  GRAMMAR    OF    ELOCUTION. 

7    His  j  strength   to  |   suffer,  |   7  and   his   |  will  to 

serve.  |  7  7  |  7  7  | 

7  But  |  oh  thou  |  bounteous  |  Giver  of  |   all  j  good,  7 
Thou  |  art   of  |    all  thy  |  gifts   7  |  7  thy-  |  self  the 

crown!  |  7  7  | 
Give  what  thou  |  canst,  |  7  with-  |  out  thee  |  7  we  are 

poor;  | 
7  And  |  with  thee  |  rich,  7  |  take  what  thou  |  wilt  a- 

away.  |  7  7  |  7  7  | 


SONNET    TO    CYRIAC    SKINNER. 

Milton. 

Cyriac,  |  7  this  |  three  years'  |  day  7  |  these  |  eyes  |  7 

(though  |  clear,  7  | 

7  To  |  outward  |  view,  7  |  7  of  |  blemish  or  of  |  spot)  7  | 
7  Be-  |  reft  of  |  light  |  7  their  |  seeing  |  7  have  for-  | 

got;  7  J  77  | 

Nor  to  their  |  idle  |  orbs  |  7  doth  |  sight  ap-  j  pear,  7  I 
7  Of  |  sun,  |  7  or  |  moon,  or  |  star,  |  7  through-  |  out  the 

year,  7  | 

7  Or  |  man  or  |  woman.  |  7  7  |  Yet  I  |  argue  not  | 
7  A-  |  gainst  |  Heaven's  |  hand  or  |  will,  |  7  nor  |  bate  a  | 

JOt   7  | 

7  Of  |  heart  or  |  hope  ;  7  |  7  but  |  still  |  bear  |  up  and  | 

steer  | 
Right  |  onward.  |  7  7  |  What  sup-  |  ports  me  |  7  7  |  dost 

thou  I  ask  ?  I 


EXERCISES.  241 

7  7  |  7  The  |  conscience,  |  friend  7  |  7  to  have  |  lost  them 

|  over-  |  plied  7  f 

7  In  |  liberty's  de-  |  fence,  |  7  my  |  noble  |  task,  7  | 
7  Of  |  which  |  all  |  Europe  |  rings  7  |  7  from  |  side  to  | 

side.  |  7  7  |  7  7  | 
This  |  thought  |  7  might  |  lead  me  |  7  through  the  \  world's  | 

vain  |  mask  | 
7  Con-  |  tent  |  7  though  |  bh'nd,  7  |  7  had  I  |  no  |  better  | 

guide.  |  7  7  |  7  7  | 


SONNET    ON    HIS    BLINDNESS. 

Milton. 

When  I  con-  |  sider  |  how  my  |  life  |  7  is  |  spent  7  | 
Ere   |  half  my  |  days,  |  7  in  |  this  |  dark  |  world  and  | 

wide  7  | 

And  that  |  one  |  talent,  |  7  which  is  |  death  to  |  hide,  | 
Lodged  with  me  |  useless,  |  7  though  my  |  soul  |  more  | 

bent  7  | 
7  To  |   serve  therewith  |  7  my  |  Maker  |  7  and  pre-  | 

sent  7  | 
7  My    |    true  ac-  |  count,      lest  |  he   re-  |  turning  | 

chide  ;  |  7  7  | 
Doth  |  God  ex-  |  act  7  |  day  |  labor,  |  7  7  |  light  de-  | 

nied  ?  | 
7  1 1  fondly  |  ask :  |  7  7  |  7  But  |  patience  |  7  to  pre-  | 

vent  7  | 
7  That  |  murmur,  |  soon  re- 1  plies,  7  |  God  doth  not  |  need  | 


242  GRAMMAR  OF    ELOCUTION. 

Either  |  man's  |  work,  |  7  or  his  |  own  |  gifts ;   7  j  who 

best  7  j 
Bear  his    mild  |  yoke,  |  they  |  serve  him  |  best ;   |  his 

state  7  | 

7  Is  |  kingly ;  |  7  7  |  thousands  at  his  |  bidding  |  speed, 
~  And  |  post  o'er  |  land  and  |  ocean  |  7  without  |  rest ;  | 
They  |  also  |  serve  |  7  who  |  only  |  stand  |  7  and 

wait.  I  7  7  I  7  7  I 


APOSTROPHE  TO  LIGHT. 

Milton. 

Hail  |  holy  |  Light,  7   |   7   7  |  offspring  of  |  Heaven  | 

first  |  born,  7  | 

7  7  |  Or  of  the  e-  |  ternal  |  7  7 1  co-e- 1  ternal  |  beam,  |  7  7  | 
May  I  ex-  |  press  thee  \  un-  |  blamed  ?  7  |  7  7 1  Since  7  | 

God  is  |  light,  7  | 

7  And  |  never  |  7  but  in  |  unap-  |  preached  |  light  7  | 
Dwelt  from  e-  |  ternity,  |  7  7  |  dwelt  |  then  in  |  thee,  7  | 
7  7  |  Bright  |  effluence  |  7  of  |  bright  |  essence  |  incre-  j 

ate  7  |  7  7  |  7  7  | 
7  Or  |  hear'st  thou  |  rather,  |  7  7  |  pure  e-  |  therial  | 

stream,  7  |  7  7  | 
7  Whose  |  fountain  |  who  shall  |  tell  7  |  7  7  |  7  Be-  | 

fore  the  |  sun  7  | 
7  Be-  |  fore  the  |  Heavens  |  thou  |  wert,  7  |  7  7  |  and 

at  the  |  voice  | 
7  Of  |  God  7  |  7  7  |  as  with  a  |  mantle,  |  7  didst  in-  \ 

vest?  I 


EXERCISES.  243 

7  The  |  rising  |  world  of  |  waters  |  7   7  |  dark  |  7  and  | 

deep  7  | 

7    7  |  Won   from  the  |  void  |  7   and  |  formless  |  infi- 
nite. |  7  7  |  7  7  | 

Thee  I  re-  |  visit  |  now  7  |  7  with  |  bolder  |  wing,  7  | 
7  Es-  |  caped  the  |   Stygian  |  pool  7  |  7  7  |  7  |  though  | 

long  de-  |  tained  7  | 
7  In  |  that  ob-  |  scure  so-  |  journ  7  |  7  7  j  while  7  |  7  in 

my  |  flight,  7  | 
Through  |  utter  |     and  through  |  middle  |  darkness  j 

borne,  | 

7  With  |  other  |  notes  |  than  to  the  Or-  |  phean  |  lyre 
7  I  |  sung  of  |  chaos  |  7  and  e-  |  ternal  |  night.  7  |  7  7  1 7  7  | 
Taught  by  the  |  heavenly  |  muse  |  7  to  venture  |  down  7  | 
7  The    dark  de-  |  scent  |  7  7  |  7  and  |  up  to  |  re-as-  | 

cend  7  | 
Though  |  hard  7  |  7  and  |  rare ;  |  7   7  |  Thee  1  re-  | 

visit  |  safe  7  | 
7  And  |  feel  thy  |  sovereign  |  vital  |  lamp ;  7  |  7  7  |  7  but  | 

thou  7  | 
7  Re-  |  visit'st  |  not  7  |  these    eyes,  7  j  7  that  |  roll  in  | 

vain,  | 
7  To    find  thy  |  piercing    ray,  7  |  7  7    7  and    find  |  no  | 

dawn ;  |  7  7  | 
So  7  |  thick  a  |  drop  se-  |  rene  |  7  hath  |  quench'd  their  | 

orbs  7  |  7  7  | 
7  Or    dim  suf-|  fusion  |  veil'd.  7  |  7  7  |  7  7  |  Yet  |  7  riot 

the  |  more  7  | 

Cease  I  to  |  wander  |  7  7  |  where  the  |  Muses  |  haunt,  | 
Clear  |  spring  7  |  7  or  |  shady  |  grove,  7  |  7  or  |  sunny  | 

hill,  7  | 

21* 


244  GRAMMAR    OF    ELOCUTION. 

7  7  |  Smit  with  the  |  love  of  |  sacred  |  song ;  |  7  7  |  7 

but  |  chief  7  | 

Thee  |  Sion,  |  7  and  the  |  flowery  brooks  be-  |  neath,  7  | 
7  That  |  wash  |  thy    |   hallow'd  |  feet,  7  |  7  and  |  war- 
bling |  flow,   | 
7  7  |  Nightly  |  7  1 1  visit :  |  7  7  |  7  nor  |  some-  |  times  | 

7  for-  |  get  7  | 

Those  |  other  |  two  |  equalled  with  |  me  in  |  fate,  7  | 
7  7  |  So  were  |  1 1  equalled  with  |  them  in  re-  |  nown  7  | 
7  7  |  Blind  |  Thamyris  |  7  and  |  blind  Mae-  |  onides,  | 
7  And  Ty-  |  resias  |  7  and  |  Phineas,  |  7  7  |  prophets 

|  old :  7  |  7  7  | 
Then     |    feed  on   |    thoughts,   |  7  that  |  voluntary  | 

move  7  | 

7  Har-  |  monious  |  numbers ;  |  7  as  the  |  wakeful  |  bird  7  | 
Sings  |  darkling  |  7  and  in  |  shadiest  |  covert  |  hid  7  | 
7  7  |  Tunes  her  noc-  |  turnal  |  note.  |  7  7  |  7  7  |  Thus 

with  the  |  year  7  | 
Seasons  |  7  re-  |  turn,  7  |  7  but  |  not  to  |  me  |  7  re-  | 

turns  | 
Day  |  7  or  the  j  sweet  ap-  |  proach  of  |  even  |  7  and  | 

morn ;  7  |  7  7  | 
7  Or  |  sight  of  |  vernal  |  bloom,  |  7  or  |  summer's  |  rose,  7  | 

77| 
7  Or  |  flocks,  7  |  7  or  |  herds,  7  |  7  or  |  human    face  di-  | 

vine ;  ,  7  7  | 
7  But  |  cloud  |  7  in-  |  stead,  7  |  7  and  |  ever  |  during  | 

dark  7  | 
7  Sur-  |  rounds  me,  |  7  from  the  |  cheerful  |  ways  of  | 

men  7  | 

Cut  7  |  off,  7  |  and  for  the  |  book  of  |  knowledge  |  fair  7  | 
7  Pre-  I  sented  I  7  with  a  I  uni- 1  versa!  I  blank  7  I 


EXE11CISES.  245 

7  Of  |  Nature's  |  works  7  |  7  7  |  7  to  |  me    |  7  ex-  | 

pung'd  and  |  razed  7  |  7  7  | 
7  And  |  Wisdom,  |  7  at  |  one  |  entrance,  |  7  7  |  quite  shut  | 

out.  |  7  7  |  7  7  |  . 

So  mueh  the  |  rather  |  thou,  |  7  ce-  |  lestial  |  Light  7  | 
Shine  |  inward,  |  7  7  |  7  and  the  |  mind  |  7  through  |  all 

her  |  powers  | 
7  Ir-  |  radiate  |  7  7  |  there  |  plant  |7  eyes,  1  7  7|  all  |  mist 

from  |  thence  | 
7  7  |  Purge  and  dis-  |  perse,  7  |  7  7  7  |  that  I  may  |  see  | 

7  and  |  tell  | 
7  Of  |  tilings  in-  |  visible  |  7  to  |  mortal  |  sight.  7  |  7  7 1  7  7  | 


FOLK,  THE  GIFT  OF  MY  COUSIN  ANN  BODHAM. 

Cowper. 

O  that  those  |  lips  had  |  language !  |  7  7  |  Life  has  | 

pass'd  7  | 
7  With  |  me  but  |  roughly  |  7  7  |  since  I  |  heard  you  | 

last.  7  |  7  7  | 
Those  |  lips  are  |  thine  7  |  7  thy  |  own    |   sweet  7    | 

smile  I  |  see,  7  | 
7  The  |  same,   |   7  that  |   oft  in  |   childhood   |   solaced 

me;  | 
7  7  |  Voice  7  |  only  |  fails,    |  else  7  |  7  how  dis-  |  tinct 

they  |  say,  7  | 
Grieve  not  my  |  child,  7  |  7  7  |  chase  |  all  thy  |  fears 

a-  |  way !  7  |  7  7  | 


246  GRAMMAR    OF    ELOCUTION. 

7  The  |  meek  in-  |  telligence  of  |  those  |  dear  |  eyes  7  | 
(Blest  be  the  |  art,  7  |  that  can  im-  |  mortalize,  | 
7  The  |  art  that  |  baffles  |  Time's  ty-  |  ranic  |  claim  7  | 
7  To  |  quench  it)  |  7  7  |  here  |  7  7    shines  on  me  |  still 
the  |  same.  7  |  7  7  |  77  | 

Faithful  re-  |  membrancer  of  |  one  so  |  dear,  | 

0  |  welcome  |  guest,  7  |  7  though   |    unex-  |  pected  | 

here  !  7  |  7  7  | 

7  Who  |  bidd'st  me  |  honor  |  7  with  an    artless  |  song,  7  | 
7  Af-   fectionate,  |7  a  | Mother  |  lost  so  |  long.  |  7  7  77  | 

1  will  o-  |  bey  7  |  7  7  |  not  7  |  willingly  a-  |  lone,  7  | 

7  But  |  gladly,  |  7  as  the  |  precept  |  7  were  her  |  own  :  | 
7  And  |  while  that  |  face  re-  |  news  my  |  filial  |  grief,  7  | 
Fancy  |  7  shall  |  weave  a  |  charm  |  for  my  re- 1  lief,  7  | 
7  Shall  |  steep  me  |  7  in  E-  |  lysian  |  reve-  |  rie,  7  | 
7  A  |  momentary  |  dream,  7  |  7  that  |  thou  art  |  she  | 
77|77| 

7  My  |  Mother !  |  7  when  I  |  learn'd  that  |  thou  wast  | 

dead,  7  | 

Say,  7  |  wast  thou  |  conscious  |  7  of  the  |  tears  I    shed  ?  | 
7  7  |  Hover'd  thy  |  spirit  I  o'er  thy  |  sorrowing  |  son,  7  | 
Wretch   j  even  I  then  7  |  life's  |  journey  !  just  be-  | 

gun?  7  |  77  | 
7  Per-  |  haps  7  |  7  thou  |  gav'st  me,  |  7  7  |    though  un-  j 

felt 7  |7akiss;7  |  7  7  | 
7  Per-  |  haps  a  I  tear,    |  7  if  |  souls  can  |  weep  in  | 

bliss  7  | 
Ah  |  that  ma-  |  ternal  |  smile !  7  |  7  it  |  answers  |  7  7  | 

Yes.  7  |  7  7  |  7  7  | 
I  |  heard  the  |  bell  |  toll'd  on  thy  |  burial  |  day,  7  | 


EXERCISES.  247 

7  I  I  saw  the  |  hearse  |  7  that  |  bore  thee    slow  a-  | 

way,  7  |  7  7  | 
7  And  |  turning  from  my  |  nursery   |  window,   |   7  7  | 

drew  7  | 
7  A  |  long     |  long   |  sigh     |  7  and  |  wept  a  |  last  a  | 

dieu !  |  7  7  |  7  7  | 
7  But  |  was  it  |  such?  7  |  7  7  |  7  It  |  was.  7  \  7  7  | 

Where  |  thou  art  |  gone,  7  | 
7  A-  |  dieus  and  |  farewells  |  7  are  a  |   sound  un-  | 

known.  |  7  7  |  7  7  | 

May  I  but  |  meet  thee  |  7  on  |  that  7  |  peaceful  |  shore,  7  | 
7  The  |  parting  |  word  7  |  7  shall  |  pass  my  |  lips  no  | 

more  !  |  7  7  | 
7  Thy  |  maidens,  |  grieved  |  7  them-  |  selves  |  7  at  |  my 

con-  |  cern,  7  | 

Oft  7  |  gave  me  |  promise  (  7  of  thy  |  quick  re- 1  turn.  7  \ 
What  I  ardently  I  |  wish'd,  7  |  7  I  |  long  be-  |  liev'd,  7  | 
7  And,  |  disap-  |  pointed  |  still,  7  j  7  was  |  still  de-  | 

ceiv'd.  |  7  7  | 

7  By  |  expec-  |  tation  |  every  |  day  be-  |  guil'd,  7  | 
7  7  |  Dupe  of  to- 1  morrow  7  7  |  even  from  a  |  child,  1 7  7  | 
Thus  7  |  many  a  |  sad  to- 1  morrow  |  came  and  |  went,  7  j 
7  Till  |  all  my  |  stock  of  |  infant  |  sorrow  |  spent,  7  | 
7  I  |  learn'd  at  |  last  7  |  7  sub-  |  mission  to  my  |  lot,  7  j 
But  7  |  though  I  |  less  de-  |  plored  thee,  |  ne'er  for-  | 

got.  7  |  7  7  |  7  7  | 

Where  |  once  we  |  dwelt  7  |  7  our  |  name  is  |  heard 

no  |  more.  7  |  7  7  | 
Children  |  not  7  |  thine  7  |  7  have  |  trod  my  |  nursery  | 

floor ;  7  |  7  7  | 
And  |  7  7  |  where  the  |  gard'ner  |  Robin,  [  7  7  |  (day 

by  |  day,)  7  I 


248  GRAMMAR  OF  ELOCUTION. 

7  7  I  Drew  me  to  |  school  |  7  a-  |  long  the  |  public  | 

way,  |  7  7  | 
7  (De-  |  lighted  with  my  |  bauble  |  coach,  7  |  7  and  | 

wrapp'd  | 

7  In  |  scarlet  |  mantle  |  warm  and  |  velvet  |  cap'd)  7  | 
7  'Tis  |  now  be-  |  come  a  |  history  |  little  |  known,  7  | 
7  That  |  once  we  |  call'd  the  |  pastoral  |  house  |  7  our  | 

own.  |  7  7  | 

Short  lived  pos-  |  session  !  |  7  7  |  but  the  |  record  |  fair  7  | 
7  That  |  memory  |  keeps  |  7  of  |  all  thy  |  kindness  | 

there,  7  | 

Still  |  outlives  |  many  a  |  storm  |  that  has  ef-  |  faced  7  | 
7  A  |  thousand  |  other  |  themes  |  7  less  |  deeply  |  traced.  | 

77| 

7  Thy  |  nightly  |  visits  |  7  to  my  |  chamber  |  made,  7  | 
That  thou  might'st  |  know  me  j  safe  7  |  7  and  warmly  | 

laid,  7  | 

7  Thy  |  morning  |  bounties  |  7  ere  I  |  left  my  |  home,  7  | 
7  The  |  buiscuit,  |  7  or  con-  |  fectionary  |  plum ;  7  |  7  7  | 
The  |  fragrant  |  waters  |  7  on  my  |  cheeks  be-  |  stow'd  7  | 
By  thy  |  own  |  hand,  7  |  7  till  |  fresh  they  |  shone  7  |  7 

and|glow'd;7| 
7  7  |  All  |  mis,  7  |  7  and  |  more  en-  |  dearing  |  still  than  | 

all,  7  | 
7  Thy  |  constant  |  flow  of  |  love,  7  |  7  that  |  knew  |  no  | 

fall,  7  | 

Ne'er  |  roughen'd  by  those  |  cataracts  and  |  breaks,  7  | 
7  That   |  humor  |    7   inter-   |  posed  |   too   |    often   | 

makes ;  7  |  7  7  | 

All  |  this  7  |  (still  |  legible  in  ]  memory's  |  page,  7  | 
7  And  |  still  to  |  be  so  |  7  to  my  |  latest  |  age)  7  | 
Adds  |  joy  7   |  7  to  |  duty,  |  7  7  |makes  me  |  glad  to  | 

pay  7  | 


EXERCISES.  249 

Such  I  honours  |  7  to  thee  |    as     my    |    numbers  | 

may  ;  | 

7  Per-  |  haps  a  |  frail  me-  |  morial,  |  7  but  sin-  |  cere,  7  | 
Not  !  scorn'd  in  |  heav'n,  7  |  7  though  7  |  little  |  noticed  | 

here.  |  7  7  | 

7  Could  |  time,  7  |  7  (his  |  flight  re-  |  vers'd,)  7  |  7  re-  | 

store  the  |  hours,  7  | 

When  7  |  playing  with  thy  |  vesture's  |  tissued  |  flow- 
ers, |  7  7  | 

7  (The  |  violet  |  7  the  |  pink  |  7  and  |  jessamine,)  | 
7  I  |  prick'd  them  into  |  paper  with  a  |  pin,  7  | 
(7  And  |  thou  wast  |  happier  |  7  than  my-  |  self  tlie  | 

while,  7  | 
Would'st  |  softly  |  speak  |  7  and  |  stroke  my  |  head  7  | 

7  and  |  smile)  7  | 
Could  7  |  those  |  |fe^T  |  pleasant  |  days  7  |  7  a-  |  gain 

ap-  |  pear  7  | 
7  Might  |  one  7  |  wish  |  bring  them,  |  7  7   |  would  I  | 

wish  them  |  here  ?  7  | 
7 1  |  would  not  |  trust  my  |  heart  7  |  7  7  |  7  the  |  dear  de-  | 

light  7  | 
Seems    |   so  to  be   de-  |  sired,   7  |  7  per-  |  haps  I  | 

might  7  | 
7  But  |  no   |  7  what  |  here  we  |  call  our   |  life  7  |  7  is  | 

such  7  | 
7  So  \.  little  |  7  to  be-  |  loved,  7  |  7  and  |  thou  |  so  7  | 

much,  7  | 
7  That  |  I  should  |  ill  re-  |  quite  thee  |  7  to  con-  | 

strain  7  | 
7  Thy  |  unbound  |  spirit  |  7  into  |  bonds  a-  |  gain.  7  | 

77|77| 


250  GRAMMAR  OF  ELOCUTION. 

Thou  7  I  7  as  a  I  gallant  |  bark,  7  |  7  from  |  Albi- 
on's |  coast  7  |  7  7  | 

7  (The  |  storms  all  |  weather'd  |  7  and  the  |  ocean  | 
cross'd)  7  | 

Shoots  into  |  port  7  |  7  at  |  some  well    haven'd  |  isle,  7  | 

7  Where  |  spices  |  breathe,  |  7  and  |  brighter  |  seasons  | 
smile,  |  7  7  | 

There  7  |  sits  qui-  |  escent  on  the  |  floods,  |  7  that  | 
show  7  | 

7  Her  |  beauteous  |  form  7  |  7  re-  |  fleeted  |  clear  be-  | 
low,  7  |  7  7  | 

7  While  |  airs  7  |  7  im-  |  pregnated  with  |  incence  | 
play  7  | 

7   A-  |  round  her  |  fanning  |  light  her  |   streamers  | 

g*y ;)  7  | 

7  7  |  So    |  thou,  7  |  7  (with  |  sails  7  |  how  7  |   swift !) 

7  |  7  hast  |  reach'd  the  |  shore,  7  | 
7  Where  |  tempests  |  never  |  beat  7  |  7  nor  |  billows  | 

roar,  7  |  7  7  | 
7  And  thy  |  loved  |  consort  |  7  on  the  |  dangerous  | 

tide  7  | 
7   Of  |  life,    7  |  long   |  since   has  |  anchored  by   thy  | 

•side.  7  |  7  7  |  7  7  | 
7   But  |  me,     |  scarce   |    hoping  to   at-  |  tain   that  | 

rest,  7  [ 
Always  from  |   port  with-  |  held,   7    |  always  ,olis-  | 

tress'd  7  |  7  7  | 
Me   |   howling   |  blasts  |  drive  7  |  devious,  |  tempest  | 

toss'd,  7  | 
Sails  |  ripp'd,  7  |  seams  |  opening  |  wide  7  |  7  and  | 

compass  |  lost,  7  | 


EXERCISES.  253 

77    I  7  And  |  day  by  |  day  7  |  7  some  |  current's  | 

thwarting  |  force  7  | 
Sets  me    |  more  7  |  distant  |  7  from  a  |  prosperous  | 

course.  |  7  7  |  7  7  | 
Yet  7  |  O  the  |  thought,  |  7  that  |  thou  art  |  safe,  7  |  7 

and  |  he !  7  | 
That  |  thought  is  |  joy,  |  7  ar-  |  rive  what  |  may  to  | 

me,  7  |  7  7  | 

7  My  |  boast  is  |  not,  7  |  that  I  de-  ]  duce  my  |  birth  7  | 
7  From  |  loins  en-  |  throned  |  7  and  |  rulers  of  the  | 

earth  ;  7  | 
7  7  |  7  But  |  higher  |  far  7  |  my  |  proud  pre-  |  tensions  • 

rise,  7  | 
7    7  |    7  The  |  son   of  |  parents  |  pass'd  into  the  | 

skies.  7  |  7  7  |  7  7  | 
7  And  |  now,   7   |  fare-  |  well.  |  7  7  |  Time  |  unre-  | 

voked  (  7  has  |  run  7    | 
7  His  |  wonted  |  course,  7  |  yet  7  |  what  I  |  wish'd  |  7 

is  |  done.  7  j 
7  7  |  7  By  |  contem-  |  plation's  |  help,  7  |  7  not  |  sought 

in  |  vain,  7  | 
7  I  |  seem   to  have  |  lived   my  |  childhood  |  o'er  a-  | 

gain ;  7  | 
To  have  re-  |  newed  the  |  joys  7  |  7  that  |  once  were  | 

mine,  7  | 

7  With-  |  out  the  |  sin  of  |  violating  |  thine ;  7  |  7  7  | 
7  And  |  while  the  |  wings  of  |  fancy  |  still  are  |  free,  7  | 
7  7  |  And  I  can  |  view  this  |  mimic  |  show  of  |  thee,  7  | 
Time  |  has  but  |  half  7  |  7  sue-  |  ceeded  in  his  |  theft  7  | 
7  7  |  Thy-  |  self  re-  |  moved  |  7  thy  |  power  to  |  soothe 

me  |  left.  7  |  7  7  |  7  7  | 
22 


254  GRAMMAR    OF    ELOCUTION. 

ON  SINCERITY. 

From  A.  B.  Tillotson,  (Abridged.) 

Truth  |  7  and  sin-  |  cerity  |  7  have  |  all  the  ad-  |  van- 
tages |  7  of  ap-  |  pearance  |  7  and  |  many  |  more.  |  7  7  | 
7  7  |  7  If  the  show  of  |  any  thing  |  7  be  |  good  for  |  any 
tiling  |  7  7  |  7  I  am  |  sure  |  7  the  re-  |  ality  |  7  is  |  bet- 
ter :  |  7  7  |  7  for  |  why  |  7  does  |  any  man  |  7  dis-  |  sem- 
ble,  |  7  or  |  seem  to  be  |  that  which  he  |  is  not,  |  7  7  |  but 
be-  |  cause  |  7  he  |  thinks  it  |  good  |  7  to  |  have  the  |  quali- 
ties I  7  he  pre-  |  tends  to?  |  7  7  |  Now  the  |  best  j  way  | 
7  for  a  |  man  to  |  seem  to  be  |  any  thing,  |  is  to  |  be  in 
re-  |  ality,  |  7  7  |  what  he  would  |  seem  to  be  :  |  7  7  |  7 
be-  |  sides,  |  7  it  is  |  often  as  |  troublesome  |  7  to  sup-  | 
port  the  pre-  |  tence  of  a  |  good  |  quality,  |  7  as  to  |  have 
it ;  |  7  and  |  if  a  |  man  |  have  it  not,  |  7  it  is  |  most  |  likely  | 
he  will  be  dis-  |  covered  to  |  want  it ;  |  7  7  |  7  and  |  then, 
all  his  |  labor  to  |  seem  to  |  have  it,  |  7  is  lost.  |  7  7  |  7  7 
7  There  is  |  something  |  un-  I  natural  |  7  in  |  painting, 
7  which  a  |  skilful  |  eye  |  7  will  |  easily  dis-  |  cern  |  7 
from  |  native  |  beauty  |  7  and  com-  |  plexion.  |  7  7  |  7  7 

Therefore  |  7  if  |  any  man  |  think  it  con-  |  venient  to 
seem  |  good,  |  let  him  |  he  so  in-  |  deed :  |  7  7  |  7  and 
then  |  7  his  |  goodness  will  ap-  |  pear  |  7  to  |  every  one's 
satis-  |  faction.  |  7  7  |  7  7  |  7  Par-  |  ticularly,  |  7  7  |  as 
to  the  af-  |  fairs  of  |  this  |  world,  |  7  in-  |  tegrity  |  7  hath 
many  ad-  |  vantages  |  over  |  all  the  arti-  |  ficial  |  modes 
7  of  |  dissimu-  |  lation  |  7  and  de-  |  ceit.  |  7  7  |  7  7  |  7  I 
is  |  much  the  |  plainer  |  7  and  |  easier,  |  7  7  |  much  the 
safer,  |  7  and  |  more  se-  |  cure  |  way  of  |  dealing  in  the 
world ;  |  7  7  |  7  it  has  |  less  of  !  trouble  and  |  difficulty, 


EXERCISES.  255 

7  of  en-  |  tanglement  |  7  and  per-  |  plexity,  |  7  of    dan- 
ger and  |  hazard  |  7  in  it.  |  7  7  |  7  7  | 

7  The  |  arts  of  de-  |  ceit  and  |  cunning  |  7  con-  I  tinu- 
ally  |  grow  |  weaker,  |  7  and  |  less  |  serviceable  |  7  to  | 
those  that  |  practise  them ;  |  7  7  |  7  where-  |  as  |  7  in-  | 
tegrity  |  7  7  |  gains  |  strength  by  |  use ;  |  7  7  |  and  the  | 
more  and  |  longer  |  any  man  |  practiseth  it,  |  7  the  |  great- 
er |  service  |  7  it  |  does  him;  |  7  7  by  con-  |  finning 
his  |  repu-  |  tation,  |  7  and  en-  |  couraging  |  those  |  7 
with  |  whom  he  |  hath  to  |  do,  |  7  to  re-  |  pose  the  | 
greatest  |  confidence  |  in  him  :  |  7  7  |  which  is  an  un-  | 
speakable  ad-  |  vantage  |  7  in  |  business,  |  and  the  af-  \ 
fairs  of  |  life.  |  7  7  |  7  7  | 

7  But  |  insin-  |  cerity  |  7  is  |  very  |  troublesome  to  | 
manage.  |  7  7  |  7  7  |  7  A  |  hypocrite  |  7  hath  so  |  ma- 
ny |  things  |  7  to  at-  |  tend  to,  |  7  as  |  make  his  |  life  |  7 
a  |  very  per-  |  plexed  and  |  intricate  |  thing.  |  7  7  |  7  7  | 
7  A  |  liar  I  7  hath  |  need  of  a  |  good  |  memory,  |  7  7  | 
lest  he  |  contra-  |  diet  |  7  at  |  one  |  time  |  7  what  he  | 
said  at  an-  |  other:  |  7  7  |  7  but  |  truth  j  7  is  |  always 
con-  |  sistent,  [  7  and  |  needs  |  nothing  to  |  help  it  |  out : 
|  7  7  |  7  it  is  |  always  |  near  at  |  hand,  |  7  and  |  sits  up- 
on our  |  lips ;  |  7  7  |  7  where-  |  as  a  |  lie  |  7  is  |  trouble- 
some, |  7  and  |  needs  a  |  great  |  many  |  more  |  7  to  | 
make  it  |  good.  |  7  7  |  7  7  | 

7  In  a  |  word,  |  whatso-  |  ever  con-  |  venience  |  may 
be  |  thought  |  7  to  |  be  in  |  falsehood  |  7  and  dis-  |  simu- 
|  lation,  |  7  it  is  |  soon  |  over :  |  7  7  |  but  the  |  incon- 
venience of  it  |  7  is  per-  |  petual;  |  7  7  |  7  be-  |  cause  | 
7  it  |  brings  a  |  man  |  under  an  |  ever-|  lasting  |  jealousy  | 
and  sus-  |  picion ;  |  7  7  |  so  that  he  is  |  not  be-  |  lieved 
|  7  when  he  |  speaks  the  [  truth ;  (  7  7  |  nor  |  trusted  | 


256  GRAMMAR    OF    ELOCUTION. 

7  when  per-  |  haps,  |  7  he  |  means  |  honestly.  |  7  7  | 
7  7  |  When  a  |  man  hath  |  once  |  forfeited  |  7  the|re- 
pu-  |  tation  |  7  of  his  in-  |  tegrity,  |  7  7  |  nothing  will  | 
then  |  serve  his  |  turn :  |  7  7  |  neither  |  truth  |  nor  | 
falsehood.  |  7  7  |  7  7  | 

7  In-  |  deed,  |  7  if  a  |  man  were  |  only  to  |  deal  in 
the  |  world  |  7  for  a  |  day,  |  7   7  |  and  should  |  never 
have  oc-  |  casion  |  7  to  con-  |  verse  |  more  |  with  man-  | 
kind,  |  it  were  |  then  |  7  no  |  great  |  matter  |  7  (as  |  far 
as  res-  |  pects  the  af-  |  fairs  of   |  this  |  world,)    |    7  if 
he  |  spent   his  |  repu-  |  tation  |  all    at  |  once  ;  |  "/   or 
ventured  it  |  7  at  |  one  |  throw.  |  7  7  |  7  7  |  But  if  he 
be  to  con-  |  tinue  |  7  in  the  |  world,  |  7  and  would  |  have 
the  ad-  |  vantage  of  |  repu-  |  tation  |  whilst  he  is  |  in  it, 
let  him  |  make  |  use  of  |  truth  |  7  and  sin-  |  cerity  |  7  in 
all  his  |  words  and  |  actions  ;  |  7  7  |  7  for  |  nothing  but 
this  |  7  will  |  hold  |  out  |  7  to  the  |  end.  |  7  7  |  7  7 
All  |  other  |  arts  may  |  fail ;  |  7  but  |  truth  |  7  and  in- 
tegrity |  7  will  |  carry  a  |  man  |  through,  |  7  and  |  bear 
him     out     7  to  the     last.     7  7     7  7 


HYDER    ALL 

Extract  from  a  speech  of  Mr.  Burke. 

When  at  |  length  |  Hyder  |  Ali  |  found,  |  7  that  he 
|  had  to  |  do  with  |  men,  |  7  who  |  either  would  |  sign  | 
no  con-  |  vention,  |  7  or  |  whom  |  no  |  treaty,  |  7  and  | 
no  |  signature  |  7  could  |  bind ;  |  7  and  |  who  were  the 
de-  I  terrained  I  enemies  I  7  of  I  human  I  intercourse  | 


EXERCISES.  257 

7  it-  |  self,  |  7  he  de-  |  creed  |  7  to  |  make  the  |  coun- 
try |  7  pos-  |  sessed  by  |  these  in-  |  corrigible  |  7  and 
pre-  |  destinated  |  criminals,  |  7  a  memorable  ex-  |  am- 
ple |  7  to  man-  |  kind.  |  7  7  |  7  7  |  7  He  re-  |  solved, 
|  7  in  the  |  gloomy  re-  |  cesses  of  a  |  mind  |  7 
ca-  |  pacious  of  |  such  |  things  ;  |  7  to  |  leave  the  | 
whole  Car-  |  natic,  |  7  an  |  ever-  |  lasting  |  monument 
of  |  vengeance,  |  7  and  to  |  put  per-  |  petual  |  7  deso-  | 
lation,  |  7  as  a  |  barrier,  |  7  be-  |  tvveen  |  him,  |  7  and  | 
those,  |  7  a-  |  gainst  |  whom,  |  7  the  |  faith  |  7  which  | 
holds  the  |  moral  |  elements  |  7  of  the  |  world  |  7  to-  | 
gether,  |  7  was  |  no  pro-  |  tection.  |  7  7  |  7  7  |  7  He 
be-  |  came  |  7  at  |  length  |  so  |  confident  |  7  of  his  | 
force  |  7  and  |  so  col-  |  lected  |  7  in  his  |  might,  |  7  that 
he  |  made  |  no  |  secret  |  7  what-  |  ever,  |  of  his  dread- 
ful |  reso-  |  lution.  |  7  7  |  7  7  |  Having  |  terminated  | 
7  his  dis-  |  putes  |  7  with  |  every  |  enemy,  |  7  and  | 
every  |  rival,  |  7  who  |  buried  their  |  mutual  |  7  ani-  | 
mosities,  |  7  in  their  |  common  |  interest,  |  7  a-  |  gainst 
the  |  creditors  of  the  |  Nabob  of  |  Arcot;  |  7  7  |  7  he  | 
drew  from  |  every  |  quarter,  |  7  what  |  ever  a  |  savage 
fe-  |  rocity  |  7  could  |  add  |  7  to  his  |  new  |  rudiments  | 
7  in  the  |  art  of  de-  |  struction ;  |  7  and  com-  |  pound- 
ing |  all  the  ma-  |  terials  of  |  fury,  |  7  7  |  havoc,  |  7  and 
|  deso-  |  lation,  |  7  into  |  one  |  black  |  cloud ;  |  7  he  | 
hung  for  a  |  while  |  on  the  de-  |  clivities  |  of  the  | 
mountains.  |  7  7  |  7  7  | 

Whilst  the  |  authors  of  |  all  |  these  |  evils,  |  7  were  | 
idly  and  |  stupidly  |  gazing  |  7  on  this  |  menacing  |  me- 
teor, |  7  which  |  blackened  |  all  the  ho-  I  rizon,  |  7  it  | 
suddenly  |  burst,  |  7  and  I  poured  |  down  the  |  whole  of 
its  con-  |  tents,  1  7  upon  the  |  plains  |  7  of  the  Car-  j 
22* 


258  GRAMMAR   OF    ELOCUTION. 

natic.  |  7  7  |  7  7  |  Then  en-  |  sued  a  |  scene  of  |  wo ;  f 
7  the  |  like  of  |  which  |  no  |  eye  had  |  seen,  [  7  nor  |  heart 
con-  |  ceived,  |   and  which   |  no  |  tongue  |  7  can  |  ade- 
quately |  tell.  |  7  7  |  7  |  All  the  |  horrors  of  |  war,  |  7  be- 
fore |  known  or  |  heard  of,  |  7  were  |  mercy,  |  7  to  that 
new  |  havoc.  |  7  7  |  7  7  |  7  A  |  storm  of  |  uni-  |  versal 
fire  |  blasted  |  every  |  field,  |  7  con-  |  sumed  |  every 
house,  |  7  and  de-  |  stroyed  |  every  |  temple.  |  7  7  |  7  7 
7  The  |  miserable  in-  |  habitants,  |  7  7  |  flying  from  their 
flaming  |  villages,  |  7  7  |  7  in  |  part,  |  7  were  |  slaughter- 
ed, |  7  7  |  others,  |  7  with-  |  out  re-  |  gard  to  |  sex,  |  7  to 
|  age,  |  7  to  |  rank,  |  7  or  |  sacredness  of  |  function  |  7  7  ( 
fathers  |  torn  from  |  children,  |  7  7  |  husbands,  |  7  from  | 
wives,  |  7  7  |  7  en-  |  veloped  in  a  |  whirlwind  of  |  caval- 
ry, |  7  and  a-  |  midst  the  |  goading  |  spears  of  |  drivers, 
|  7  and  the  |  trampling  |  7  of  pur-  |  suing  |  horses,  |  7 
were   |   swept  into  cap-  |  tivity,  |   in  an  un-  |  known  |  7 
and  |  hostile  |  land.  |  7  7  |  7  7  |  Those  who  were  |  able 
to  e-  |  vade  this  |  tempest,  |  7  7  |  fled  to  the  |  walled  | 
cities.  |  7  7  |  But  es-  |  caping  from  |  fire,  |  sword,  |  7 
and  |  exile,  |  7  they  |  fell  into  die  |  jaws  of  |  famine.  | 
77|  77| 

7  For  |  eigh-  |  teen  |  months  |  7  with-  |  out  inter-  | 
mission,  |  7  7  |  this  de-  |  struction  |  raged  |  7  from  the  | 
gates  of  Ma-  |  dras  |  7  to  the  |  gates  of  Tan-  |  jore,  [ 
7  7  |  7  and  |  so  com-  |  pletely  |  7  did  |  these  |  masters 
in  their  |  art,  |  Hyder  |  Ali,  |  7  and  his  |  more  fe-  |  ro- 
cious  |  son,  |  7  ab-  |  solve  themselves  |  7  of  their  |  im- 
pious |  vow,  |  7  that  |  when  the  |  British  [  armies  |  tra- 
yersed,  |  7  as  they  |  did,  |  7  the  Car-  |  natic  |  7  for  [ 
hundreds  of  |  miles  |  7  in  |  all  di-  |  rections ;  |  7  7  | 
through  the  |  whole  |  line  of  their  |  march,  |  7  they  | 


EXERCISES.  259 

did  not  |  see  |  one  |  man,  |  7  7  |  7  not  |  one  [  woman,  | 
7  7  |  7  not  |  one  |  child,  |  7  7  |  7  not  |  one  |  four  foot- 
ed |  beast,  |  7  of  |  any  des-  |  cription  |  7  what-  |  ever.  [ 
7  7  |  7  7  |  One  |  dead  |  uniform  |  silence  |  7  7  |  reign- 
ed over  the  |  whole  |  region.  |  7  7  |  7  7  | 


FOURTH  CHAPTER  OF  JOHN. 

7  When  |  therefore  |  7  the  |  Lord  7  |  knew  |  7  how 
the  |  Pharisees  had  |  heard  7  |  7  that  |  Jesus  |  made  and 
bap-  |  tised  |  more  dis-  I  ciples  than  |  John,  |  7  though  | 
Jesus  him-  |  self  |  7  bap-  |  tised  |  not,  |  but  |  7  his  dis-  | 
ciples,  |  7  he  |  left  Judea,  |  7  and  de-  |  parted  a-  |  gain  | 
7  into  |  Galilee.  |  7  7  |  7  7  |  And  he  must  |  needs  |  go  | 
through  Sa-  |  maria.  |  7  7  J  7  7  |  Then  |  cometh  he  | 
7  to  a  |  city  of  Sam-  |  aria,  |  7  which  is  |  called  |  Sy- 
char,  |  7  7  |  near  to  the  |  parcel  of  |  ground  |  7  that  |  Ja- 
cob |  gave  |  7  to  his  |  son  |  Joseph.  |  7  7  |  7  7  |  7 
Now  |  Jacob's  |  well  J  7  was  |  there.  |  7  7  |  7  7  |  Je- 
sus |  therefore  |  being  |  wearied  with  his  |  journey,  | 
7  7  |  sat  |  thus  |  7  on  the  |  well :  |  7  7  |  and  it  was  a-  | 
bout  the  |  sixth  |  hour.  |  7  7  |  7  7  |  There  |  cometh  a  | 
woman  of  Sam-  |  aria  I  7  to  I  draw  |  water.  |  7  7  |  7  7  | 
Jesus  |  saith  unto  her,  |  7  7  |  Give  me  to  |  drink,  |  7  7  | 
7  for  his  dis-  |  ciples  |  7  were  |  gone  a-  |  way  |  7  into 
the  |  city,  |  7  to  |  buy  |  meat.  |  7  7  |  7  7  |  7  7  |  Then 
saith  the  |  woman  of  Sam-  |  aria  |  unto  him,  |  7  7  | 
How  is  it  |  7  that  |  thou,  |  being  a  |  Jew,  |  askest  |  drink 
of  |  me,  |  who  am  a  |  woman  of  Sam-  |  aria  ?  |  7  for 


260  GRAMMAR    OF    ELOCUTION. 

the  |  Jews  |  7  have  |  no  |  dealings  |  7  with  the  Sam-  | 
aritans.  |  7  7  |  7  7  |  7  7  |  Jesus  |  answered   and  |  said 
unto  her,  |  7  7  |  If  thou  |  knewest  the  |  gift  of  |  God,  | 
7  and  |  who  it  |  is  |  7  that  |  saith  to  thee,  |  give  me  to  | 
drink ;  |  7   7  |  thou  wouldest  have  |  asked  of  |  him,  |  7 
and  |  he  would  have  |  given  thee  |  living  |  water.  |  7  7  | 
7  7  |  7  The  woman  |  saith  unto  him,  |  Sir,  |  thou  hast  | 
nothing  to  |  draw  with,  |  7  and  the  |  well  is  |  deep :  |  7  7  | 
from  |  whence  |  then  |  hast  thou  |  that  |  living  |  water  ?  | 
7  7  |  7  Art  |  thou  |  greater  than  our  |  father  |  Jacob,  | 
7  who  |  gave  us  the  |  well,  |  7  and  |  drank  thereof,  |  7 
him-  |  self,  |  7  and  his  |  children,  |  7  and  his  |  cattle?  | 
7  7  |  7  7  |  Jesus  |  answered  and  |  said  unto  her,  |  7  7  | 
whoso-  |  ever  |  drinketh  of  |  this  |  water,  |  7  shall  |  thirst 
a-  |  gain  :   |   7    7  |  7   but  |  whoso-  |  ever  |  drinketh  of 
the  |  water  |  7   that  |  I  shall  |  give   him,  |  7  shall  |  ne- 
ver |  thirst;  |  7  7  |  7  but  the  |  water  that  |  I  shall  |  give 
him  |  7  shall  |  be  in  him  |  7  a  |  well  of  |  water,  |  7  7  | 
springing  |  up  |  7  into  |  ever-  |  lasting  |  life.  |  77  |  7  7| 
7  The  woman  |  saith  unto  him,  |  7  7  |  Sir,  |  give  me 
tliis  |  water,  |  7  that  I  |  thirst  not,  |  7  7  |  neither  |  come 
|  hither  |  7  to  |  draw.  |  7  7  |  7  7  |  Jesus  |  saith  unto  her, 
7  7  |  Go,  |  call  thy  |  husband,  |  7  and  |  come  |  hither. 
7  7  |  7  7  |  7  The  |  woman  |  answered  and  |  said,  |  7  I 
have  no  |  husband.  |  7  7  |  7  7  |  Jesus  |  said  unto  her, 
7  7  |  thou  hast  |  well  |  said,  |  7  I  have  |  no  |  husband  : 
7  7  |    for  thou  |  hast  |  had  |  five  |  husbands ;   |  7  and 
he  whom  thou  |  now  |  hast,  |  7  is  |  not  thy  |  husband : 
7  7  |  7  in  |  that  7  |  said'st  thou  |  truly.  |  7  7  |  7  7  |  7 
The  |  woman  |  saith  unto  him; — 7  7  |  Sir,  |  7  I  per- 
ceive |  7  that  |  thou  art  a  |  prophet.  |  7  7  |  7  7  |  Our 
fathers  |  worshipped  |  7   in  |  this  |  mountain;  |  7   7  |  7 


EXERCISES.  261 

and  |  ye  |  say,  |  that  in  Je-  |  rusalem  |  7  is  the  |  place 
|  7  where  |  men  |  ought  to  |  worship.  |  7  7  |  7  7  |  Jesus 
|  saith  unto  her,  |  7  7  |  woman,  |  7  be-  |  lieve  me,  |  7 
the  |  hour  |  cometh,  |  7  7  |  when  ye  shall  |  neither  |  7 
in  |  this  |  mountain,  |  7  nor  |  yet  in  Je-  |  rusalem,  |  7  7  ! 
worship  the  |  Father.  |  7  7  |  7  7  |  Ye  7  |  worship  |  7 
ye  |  know. not  |  what :  |  we  |  know  |  what  |  we  |  worship ; 
|  7  7  |  7  for  sal-  |  vation  |  is  of  the  |  Jews.  |  7  7  |  7  7  | 
7  But  the  |  hour  |  cometh,  |  7  and  |  now  |  is,  |  7  when 
the  |  true  |  worshippers  |  7  shall  |  worship  the  |  Father  | 
7  in  |  spirit  |  7  and  in  |  truth :  |  7  7  |  7  for  the  |  Father  | 
seeketh  |  such  |  7  to  |  worship  him.  |  7  7  |  77  |  7  7  | 
God  |  7  is  a  |  spirit :  |  7  and  |  they  that  |  worship  |  him,  | 
7  must  |  worship  him  |  IN  |  spirit  |  7  and  in  |  truth.  |  7  7  I 
7  7  |  7  The  |  woman  |  saith  unto  him,  |  7  7  |  7  7  |  7  I  | 
know  |  7  that  Mes-  |  sias  |  cometh,  |  7  which  is  |  called  | 
Christ :  |  7  when  |  he  is  |  come,  |  7  he  will  |  tell  us  |  all 
things.  |  7  7  |  7  7  |  Jesus  |  saith  unto  her,  |  I  that  |  speak 
unto  thee  |  am  |  he.  |  7  7  |  7  7  |  And  upon  |  this  |  came 
his  dis-  |  ciples,  |  7  and  |  marvelled  |  7  that  he  |  talked 
with  the  |  woman :  |  7  7  |  7  yet  |  no  man  |  said,  |  what  | 
seekest  thou  ?  |  7  7  |  7  or  |  why  |  talkest  thou  |  with  her.  | 
7  7  |  7  7  |  7  The  woman  then  |  left  her  |  water-pot,  | 
7  and  I  went  her  |  way  |  into  the  |  city,  7  7  |  7  and  saith 
to  the  |  men,  |  7  7  |  come  |  see  a  |  man  |  7  that  |  told  me  | 
all  things  |  7  that  |  ever  I  |  did  :  |  7  7  |  is  not  |  this  the  | 
Christ  ?  |  7  7  |  7  7  |  Then  |  they  went  |  out  of  the  |  city  | 
7  and  |  came  unto  him.  |  7  7  |  7  7  |  7  In  the  |  mean-  | 
while  |  7  his  dis-  |  ciples  |  prayed  him,  |  7  7  |  saying,  | 
7  7  |  Master,  |  7  7  |  eat ;  |  7  7  |  7  but  he  |  said  unto 
them,  |  I  have  |  meat  to  |  eat  |  7  that  |  ye  |  know  not 
of.  |  7  7  7  7  | 


262  GRAMMAR    OF    ELOCUTION. 

Therefore  |  said  the  dis-  |  ciples  |  one  to  an-  |  other, 
|  7  7  |  7  hath  |  any  man  |  brought  him  |  aught  to  |  eat  ?  | 
7  7  |  7  7  |  Jesus  |  saith  unto  them,  |  7  7  |  My  |  meat  | 
7  is  to  |  do  the  |  will  of  |  him  that  |  sent  me,  |  7  and  to  | 
finish  his  |  work.  |  7  7  |  7  7  |  Say  not  ye,  |  there  are  | 
yet  |  four  |  months,  |  7  and  |  then  |  cometh  the  |  har- 
vest? |  7  7  |  7  be-  |  hold  |  7  I  |  say  unto  you,  |  7  7  | 
lift  up  your  |  eyes,  |  7  and  |  look  on  the  |  fields;  |  7  7  | 
for  they  are  |  white  al-  |  ready  |  7  to  |  harvest.  I  7  7  | 
7  And  |  he  that  |  reapeth  |  7  re-  |  ceiveth  |  wages,  |  7 
and  |  gathereth  |  fruit  |  7  unto  |  life  e-  |  ternal ;  |  7  7  | 
7  that  |  both  |  he  that  |  soweth  |  7  and  |  he  that  |  reap- 
eth |  7  may  re-  |  joice  to-  |  gether.  |  7  7  |  7  7  |  7  And  | 
here-  |  in  7  |  7  is  |  that  |  saying  |  true,  |  7  7  |  One  | 
soweth,  |  7  and  an-  |  other  |  reapeth.  |  7  7  |  7  7  |  7  I  | 
sent  you  to  |  reap  |  that  7  |  7  where-  |  on  ye  be-  | 
stowed  |  no  |  labour.  |  7  7  |  Other  |  men  |  laboured,  | 
7  and  |  ye  are  |  entered  |  into  their  |  labours.  |  7  7  | 
7  7  |  7  And  |  many  of  the  Sa-  |  maritans  |  7  of  j  that  j 
city  |  7  believed  on  him  |  for  the  |  saying  of  the  |  wo- 
man, |  7  which  |  testified,  |  7  he  |  told  me  |  all  that  | 
ever  I  |  did.  |  7  7  |  7  7  |  7  So  |  when  the  Sa-  |  mari- 
tans |  7  were  |  come  unto  him,  |  7  they  be-  |  sought  him 
|  mat  he  would  |  tarry  |  with  them  :  |  7  7  |  7  and  he  a-  | 
bode  |  there  |  two  |  days.  |  7  7  |  7  7  |  And  |  many  | 
more  be-  |  lieved  on  him  |  7  be-  |  cause  of  his  |  own  | 
words ;  |  7  and  |  said  unto  the  |  woman,  |  7  7  |  Now 
we  be-  |  lieve,  j  not  be-  |  cause  of  |  thy  |  saying,  | 
for  we  have  |  heard  him  |  our-  |  selves,  |  7  and  |  know, 
|  7  that  |  this  |  is  |  7  in-  |  deed  |  7  the  |  Christ,  j  7  the  | 
Saviour  |  7  of  the  I  world.  I  7  7  |  7  7  I 


EXERCISES.  263 

SATAN  CALLING  THE  FALLEN    ANGELS    FROM    THE    OBLI- 
VIOUS   POOL. 

Milton.     Paradise  Lost.     Book  I. 

7  He  |  scarce  had  |  ceas'd  |  when  the  su- 1  perior  |  fiend  | 
7  Was  |  moving  |  toward   the  |  shore,  |  7   7  |  7   his  | 

ponderous  |  shield  | 

7  (E-  |  tlierial  |  temper,  |  massy,  |  large  and  |  round)  | 
7  Be-  |  hind  him  |  cast !  |  7  the  |  broad  cir-  |  cumfe-  j 

rence  |  '* 

Hung  on  his  |  shoulders,  |  7  like  the  |  moon,  |  7  whose 

I  orb,  | 

7  Thro'  |  optic  |  glass,  |  7  the  |  Tuscan  |  artist  |  views,  | 
7  At  |  evening  |  7  7  |  7  from  the  |  top  of  |  Fiesole,  | 
Or  in  Val-  |  darno,  |  7  to  des-  |  cry  |  new  |  lands,  | 
7  7  |  Rivers,  or  |  mountains,  |  7  on  her  |  spotty  |  globe. 

|  77|77  | 

7  His  |  spear  |  7  to  |  equal  |  which   7  the  |  tallest  |  pine  | 
Hewn  on  Nor-  |  wegian  |  hills  |  7  7  |   to  be  the  |  mast  | 
7  Of  |  some  |  great  |  admiral,  |  were  but  a  |  wand,  | 
7  He  |  walk'd  with  |  7  to  sup-  |  port  un-  |  easy  |  steps  | 
Over  the  |  burning  |  marl :  |  7  7  |  (not  7  |  like  7  |  those 

|  steps  | 

7  On  |  Heaven's  |  azure !)  |  7  7  |  7  7  |  7  and  the  |  tor- 
rid |  clime  | 
Smote  on  him  |  sore  be-  |  sides,  |  7  7  |  vaulted  with  | 

fire.  |  7  7  |  7  7  | 

Nathless  |  7  he  |  so  en-  |  dur'd  |  till  on  the  |  beach  | 
7  Of  |  that  en-  |  flamed  |  sea  |  7  he  |  stood,  |  7  and  | 

call'dl 
7  His  |  legions,  |  7  7  |  angel  |  forms,  |  7  who  |  lay,  en-  | 

tranc'd,  | 


264  GRAMMAR    OF    ELOCUTION. 

Thick  as  au-  |  tumnal  |  leaves  |  7  that  strew  the  |  brooks  | 
7  In  |  Vallom-  |   brosa,  |  7  7  |  where   the  E-  |  trurian  | 

shades,  | 
High  over-  |  arch'd  |  7  em-  |  bower ;  |  7  7  |  7  or  |  scat- 

ter'd  |  sedge  | 
7  A-  |  float,  |  when  with  |  fierce  1  winds,  |  7  O-  |  rion,  | 

arm'd,  | 
7    Hath  |  vex'd  the  |  Red  |  Sea  |  coast,    |  7   whose  | 

waves  o'er-  |  threw  | 

7  Bu-  |  siris  and  his  |  Memphian  |  chivalry,  | 
While  with  per-  |  fidious  |  hatred  I    7  7   |    they  pur-  | 

sued  | 
7  The  I  sojourners  of  |  Goshen,  |  7  7  |  7  who  be-    | 

held  | 

7  From  the  I  safe  |  shore,  |  7  their  |  floating  |  carcases  | 
7  And  |  broken  |  chariot  |  wheels :  |  7  7  |  so  |  thick  be-  | 

strown  | 
Abject  and  |  lost,  7  |  lay  |  these,  |  7  7  |  covering  the  | 

flood, |  7  7  | 
Under  a-  |  mazement  of  their  |  hideous  |  change.  |  7  7  | 

7  7  | 
7  He  |  call'd  |  so  |  loud,  |  7  that  |    all  the  J    hollow  | 

deep 
7  Of  |  hell  I  7  re-  |  sounded.  |  7  7  |  7  7  | 

"  Prin-  |  ces !  |  7  7  |  Poten-  tates  !  |  7  7  | 
Warriors  !  |  7  7  |  7  the  |  flower  of  |  heaven,  |  7  7  |  once  | 

yours  |  7  7  |  now  |  lost,  |  7  7  | 
7  If  |  such  as-  |  tonishment  as  |  this  |  7  can  |  seize  | 
7  E-  |  ternal  |  spirits  :    7  7  |  or  have  ye  |  chosen  |  this  | 

place,  | 


EXERCISES.  265 

7  To  I  slumber  |  here,  7  |  as  in  the  |  vales  of  |  heaven  ?  [ 

7  7|  77| 

Or  in  this  |  abject  |  posture  |  7  7  |  have  you  |  sworn  | 
7  To  a-  |  dore  the  |  Conqueror?  |  7  7  |  7  7  |  7  who  |  now 

be-  |  holds  | 

Cherub  and  |  seraph  |  7  7    rolling  |  7  in  the  |  flood,  | 
7  With  |  scatter'd  |  arms  and  |  ensigns.  |  7  7  |  7  7  |  Till, 

a-  |  non,  | 
7  His  |  swift  pur-  |  suers,  |  7  from  |  heaven  |   gates,  |  7 

dis-  |  cern  | 
7  The  ad-  |  vantage,  |  7  7  |  7  and  de-  |  scending,  |  7  7  | 

tread  us  |  down  | 

Thus  |  drooping ;  |  7  7  |  7  or  with  |  linked  |  thunderbolts  | 
Trans-  |  fix  us  to  the  |  bottom  of  this  |  gulph.  |  7  7  |  7  7  | 
7  7  |  7  A-  |  wake !  |  7  7  |  7  a-  |  rise!  |  7  7  |  7  or  |  be  |  - 

7  for  |  ever  |  fallen !"  |  7  7  |  7  7  I 


MARCO    BOZZAR1S,    THE    EPAMINONDAS    OF    MODERN 
GREECE. 

(He  fell  in  an  attack  upon  the  Turkish  camp  at  Lapsiy 
the  site  of  the  ancient  Plataa,  August,  20,  1823,  and 
expired  in  the  moment  of  victory. 

7  At  |  midnight  |  7  7  |  in  his  |  guarded  |  tent  7  | 
7  The  |  Turk  |  7  was  |  dreaming  |  7  of  the    hour,  | 

7  When  |  Greece,  |  7  her  |  knee  in  |  suppliance  |  bent  7  | 
7  Should  |  tremble  |  7  at  his  |  power ;  | 

7  7  |  7  In  |  dreams,  |  7  through  |  camp  and  |  court  7  | 
7  he  |  bore  7  | 

7  The  |  trophies  |  7  of  a  |  conqueror  | 
23 


266  GRAMMAR  OF    ELOCUTION. 

In  |  dreams  |  7  his  |  song  of  |  triumph  |  heard ;  |  7  7  [ 

77| 

Then  7  |  wore  his  |  monarch's  |  signet  |  ring,  |  7  7  I 
Then  7  |  press'd  that  |  monarch's  |  throne    |  7  7  |  7  a 

I  King;  7  |  7  7  | 

7  As  |  wild  his  |  thoughts7  |  7  |  7and  |  gay  of  |  wing  7  | 
7  As  |  Eden's  |  garden  |  bird.  7  |  7  7  |  7  7  | 

7  At  |  midnight  |  7  in  the  |  forest  |  shades,  |  7  7  | 

7  Boz-  |  zaris  |  ranged  his  |  Suliote  |  band,  |  7  7  | 
True  |  7  as  the  |  steel  |  7  of  their  |  tried  |  blades,  | 

Heroes  |  7  in  |  heart  and  |  hand.  |  7  7  |  7  7  | 
There  had  the  |  Persian's  |  thousands  |  stood,  7  | 
There    |  7  had  the  |  glad  7  |  earth  7  |  drunk  their  [ 
blood  7  | 

7  On  |  oldPla-  |  taja's  |  day:  | 

7  And  |  now  7  |  7  there  |  breathed  that  |  haunted  |  air  7  | 
The  |  sons  ^  |  7   of  |  sires  who  |  conquered  |  there,  7  | 
7  With  |  arm  to  |  strike  7  |  7  and  |  soul  to  |  dare,  | 

7  As  |  quick,  7  |  7  7  |  7  as  |  far  as|  they.  7  |  7  7  |  7  7  | 

7  An  |  hour  pass'd  |  on  7  |  7   7  |  7   the  |  Turk  a-  | 
woke : |  7  7  | 

That  7  |  bright  7  |  dream  |  7  was  his  |  last ;  7  |  7  7  J 
7  He  |  woke  7  |  7  to  |  hear  his  |  sentry's  |  shriek,  | 
7  To  |  arms  !  |  7  they  |  come  !  |  7  the    Greek  7  |  7  the 

|  Greek  7  | 

7  He  |  woke  to  |  die  |  7  midst  |  flame  and  |  smoke,  7  | 
7  And  |  shout  and  |  groan  and  |  sabre  stroke,  7  I 
77)7  And  |  death-shots  |  falling  |  thick  and  |  fast,  7  | 
7  As  |  lightnings  |  7  from  the  |  mountain  |  cloud ;  7  |  77  | 
7  And  |  heard,  7  |  7  with  |  voice  as  |  thunder  |  loud,  7  | 

7  Boz-  |  zaris  |  cheer  his  |  band ;  j 


EXERCISES.  267 

7   7  I  Strike   7  |  7    till    the  |  last  |  armed  |  foe   ex-  | 

pires,  7  |  7  7  | 
Strike  |  7  7  |  7  for  your  |  altars  |  7  and  your  |  fires  7  | 

77| 

Strike  |  7  for  the  |  green  |  graves  of  your  |  sires,  |  7  7  | 
God  7  |  7  and  your  |  native  |  land!  7  |  7  7  |  7  7  | 

They   |  fought  7  |  7  like  |  brave  |  men  7  |  long  and  | 
well,  7  |  7  7  | 

7   They  |  piled   that  |  ground  j  7   with  |  Moslem  | 

slain,  7  | 
7  They  |  conquer'd  |  7  7  |  7  but  Boz-  |  zaris  |  fell,  7  | 

7  7  |  Bleeding  at    every  |  vein.  7  |  7  7  |  7  7  | 
7  His  |  few  sur-  |  viving  |  comrades  |  7  7  |  saw  7  | 
7  His  |  smile  |  7  when  |  rang  their  |  proud  7  |  huzzah,  | 

And  the  |  red  7  |  field  7  |  7  was  |  won;  7  |  7  7  | 
Then  |  saw  in  |  death  7  |  7  his  |  eyelids  |  close  7  | 
Calmly,  |  as  to  a  |  night's  re- 1  pose  7  | 

7  Like  |  flowers  at  |  set  of  |  sun.  7  |  7  7  |  7  7  | 

Come  to  the  I  bridal  |  chamber,  |  Death  !  7  | 

Come  to  the  |  mother,  |  7  when  she  |  feels  7  | 
7  For  the  |  first  7  |  time  7  |  7  her  |  first-born's  |  breath ;  | 

7  7  |  Come  when  the  |  blessed  |  seals  7  | 
Which  |  close  the  |  pestilence  |  7  are  |  broke  7  |  7  7  | 
7  And  |  crowded  |  cities  |  wail  its  |  stroke ;  7  |  7  7  | 
Come  in  con-  |  sumption's  |  ghastly  |  form,  7  | 
7  The  |  earthquake  |  shock,  7  |  7  the  |  ocean  |  storm ;  | 
Come  when  the  |  heart  |  beats  |  high  and  [  warm,  7  | 

7  With  |  banquet  |  song,  |  7  and    dance  and  |  wine,  7 1 
7  7  |  And  |  thou  art  |  terrible !  |  7  the  |  tear,  7  | 
7  The  |  groan,  |  7  the  |  knell,  7  |  7  the  |  pall,  7  |  7  the  | 
bier,  I 


268  GRAMMAR  OF  ELOCUTION. 

7  And  |  all  we  |  know,  7  |  7  or  |  dream  or  |  fear  7  | 

7  Of  |  agony,  |  7  are  |  thine.  |  7  7  |  7  7  | 

But  to  the  |  hero,    7  when  his  |  sword  7  | 

7  Has  |  won  the  |  battle  |  7  fqr  the  |  free,    7  7  | 

7  Thy  |  voice  7  |  sounds  like  a  |  prophet's  |  word,  7  |  7  7 

And  in  its  |  hollow  |  tones  are  |  heard  7  | 

7  The  )  thanks  of  |  millions  |  yet  to  |  be.  7  |  7  7  |  7  7 

7  Boz-  |  zaris  |  7  7  |  7  with  the  |  storied  |  brave  7  ] 
Greece  |  nurtured  |  7  in  her  |  glory's  |  time,  7  |  7  7  | 

Rest  thee  |  7  7  |  there  is  |  no  |  prouder  |  grave,  | 
Even  in  her  |  own  7  |  proud  7  |  clime.  |  7  7  |  7  7  | 
7  We  |  tell  thy  |  doom  7  |  7  with-  |  out  a  |  sigh ;  7  | 

For  thou  art  |  Freedom's  |  now,  7   7  and  |  Fame's  7 1  7  7  | 

One  of  the  |  few  7  |  7  the  im-  |  mortal  |  names,  |  7  7  | 
7  That  I  were  not  I  born  to    die.  7  I  7  7  I  7  7  I 


ADDKESS    TO    THE    RAINBOW. 

Campbell. 

7  And  |  yet,  7  |  fair  |  bow,  |  7  7  |  no  |  fabling  |  dreams,  7 
7  But  |  words  of  the    Most  7  |  High,  7  | 

7  Have  |  told  7  |  why  |  first  thy  |  robe  of  |  beams  7  | 
7  Was  |  woven  |  7  in  the  |  sky.  7  |  7  7  |  7  7  | 

When  o'er  the  |  green  un-  |  delug'd  |  earth  7  | 

Heaven's  |  covenant  |  7  7  |  thou  didst  |  shine  |  7  7  | 

How  |  came  the  |  world's  |  grey  |  fathers  |  forth  7  I 
7  To  |  watch  thy  |  sacred  |  sign  !     7  7  |  7  7  | 

And  when  its  |  yellow  |  lustre  |  smiled  7  | 
7  O'er  |  mountains  |  yet  un-  |  trod,  7  | 


EXERCISES.  269 

Each  |  mother  |  held  a-  |  loft  |  7  her  |  child  7  | 
7  To  |  bless  the  |  bow  of  |  God.  7  |  7  7  |  7  7  1 

7  Me-  |  thinks,  |  7  7  |  7  thy  |  jubilee  to  |  keep,  7  | 

7  The  |  first-made  |  anthem  |  rang  7  | 
7  On  |  earth  |  7  de-  |  livered  from  the  |  deep ;  7  |  7  7  | 

And  the  |  first  7  |  poet  |  sang.  7  |  7  7  |  7  7  I 

Nor  |  ever  shall  the  |  Muse's  |  eye  7  1 

7  Un-  |  raptured  |  greet  thy  |  beam :  | 
7  7  |  Theme  of  pri-  |  meval  |  prophecy,  | 

7  Be  |  still  the  |  poet's  |  theme !  |  7  7  |  7  7  | 

7  The  |  earth  |  7  to  |  thee  her    |  incense  |  yields,  7  | 

7  The  j  lark  thy  I  welcome  |  sings,  7  | 
Where  7  |  glittering  in  the  |  freshen'd  |  fields  7  | 

7  The  |  snowy  |  mushroom  |  springs.  |  7  7  |  7  7  | 

How  |  glorious  is  thy  |  girdle  |  cast  7  | 

7  O'er  |  mountain,  |  tower,  and  |  town,  | 
7  Or  |  mirror'd  in  the  |  Ocean  |  vast,  7  | 

7  A  |  thousand  |  fathoms  |  down!  |  7  7  |  7  7  | 

7  As  |  fresh  7  |  7  in  |  yon  ho-  |  rizon  |  dark,  ( 

7  As  |  young  thy  |  beauties  |  seem,  | 
As  when  the  |  eagle  |  7  from  the  |  ark  7  | 

First  |  sported  |  7  in  thy  |  beam.  |  7  7  |  7  7  | 

For,  7  |  faithful  to  its  |  sacred  |  page,  | 

Heaven  |  still  re-  |  builds  |  7  thy  |  span,  |  7  7  | 

7  Nor  |  lets  the  |  type  7  |  grow  |  pale  with  |  age  | 
7  That  |  first  |  spoke  |  peace  |  7  to  man.  |  7  7  |  7  7  | 


23* 


270  GRAMMAR    OF    ELOCUTION. 


Shakspeare. 

Most  |  potent  |  grave,  |  7  and  |  reverend  |  seigniors,  | 
7  My  |  very  |  noble,  |  7  and  ap-  |  proved  |  good  |  mas-  | 

ters;|77  | 
That  I  have   |   taken   a-  |  way  |  7  this  |  old  man's  | 

daughter,  | 
It  is  |  most  |  true;    |  7  7  |  true,  |  7   I  have  |  married 

her; 
7   The  |   very  |   head  and  |  front   |    7  of  my  of-   | 

fending  | 
7  Hath  |  this  ex-  |  tent,  |  7  7  |  no  |  more.  |  7  7  |  7  7  | 

Rude  |  7  am  |  I  in  |  speech,  | 
7  And  |  little  |  bless'd  |  7  with   the  |  set  |  phrase  of  | 

peace ;  |  7  7  | 
7  For  |  since  |  these  |  arms  of  |  mine  |  7  had  |  seven 

years  |  pith,  | 
7  Till  |  now,  |  7  some  |  nine  |  moons  |  wasted,  |  7  they 

have  |  us'd  | 

7  Their  |  dearest  |  action  |  7  in  the  |  tented  |  field ;  | 
7  And   |    little  |  7   of  this  |  great  |  world  |  7  can  |  I  | 

speak  | 
More  than  per-  |  tains  |  7  to  |  feats  of  |  broil,  |  7  and  | 

battle ;  |  7  7  | 
7   And,  |  therefore,  |  little  |  7  shall  I   |    grace  my  | 

cause,  | 
7  In  |  speaking  |  7  for  my-  |  self:  |  7   7  |  yet  |  7   by 

your  |  patience,  | 
1  will  a  |  round  |  7  un- 1  varnish'd  |  tale  de-  |  liver,  | 


EXERCISES.  ^,  .,  „ 

D:B* 


7  Of  my  |  whole  |  course  of  |  love :  |  7 

what  |  charms,  | 
7  What  |  conju-  |  ration,  |  7  and  what  |  mighty  |  magic,  | 
7  (For  |  such  pro-  |  ceeding  |  7 1  am  |  charg'd  with-|  al,)  | 
7  I  |  won  his  |  daughter  |  with.  |  7  7  |  7  7  | 
7  Her  |  father  |  lov'd  me  ;  |  7  7  |  oft  in-  |  vited   me; 

|   7  7   | 

Still  |  question'd  me  |  7  the  |  story  of  my  |  life,  | 
7  From  |  year  to  |  year ;  |  7  7  |  7  the  |  battles,  |  sieges, 

|  fortunes,  | 

That  I  have  |  past.  |  7  7  |  7  7  | 
7  I  |  run  it  |  thro'  |  even  from  my  |  boyish  |  days,  | 
7   To  the  |  very  |  moment  |  7  that  he  |   bade   me  | 

tell  it.  | 
7  Where-  |  in,  |  7 1  |  spoke,  |  7  of  |  most  dis-  |  astrous  | 

chances;  | 

7  Of  |  moving  |  accidents,  |  7  by  |  flood  and  |  field ;  | 
7   Of   |  hair-breadth  |  'scapes  |  7  in  the  |  imminent  | 

deadly  |  breach    7  7  | 

7  Of  [  being  |  taken,  |  7  by  the  |  insolent  |  foe,  | 
7  And  |  sold  to  |  slavery ;  |  7  7  |    of  my  re-  |  demption 

|  thence ;  |  7  7  | 
7  Of  |  battles  |  bravely,  |  hardly  |  fought ;  |  7  7  |   7  of  | 

victories,  | 
7  For  |  which  the  |  conqueror  |  mourn' d  |  7  7  |  so  |  many 

|  fell !  |  7  7  |  7  7  | 

Sometimes  |  7  1 1  told  the  |  story  |  7  of  a  |  siege,  | 
7  Where-  |  in,  7  |  7  I  |  had  to  |  combat  |  plagues  and  | 

famine,  |  7  7  | 
Soldiers  |  7  un-  |  paid ;  |  7  7  |  fearful  to  |  fight,  |  7  yet  | 

bold  | 
7  In  |  dangerous  |  mutiny.  |  7  7  |  7  7  | 


272  GRAMMAR    OF    ELOCUTION. 

These  |  things  to  |  hear  | 
7  Would  |  Desde-  |  mona  |  7  7   |   seriously  |  7   in-  | 

cline :  |  7  7  | 
7  But  |  still,  |  7  the  |  house  af-  |  fairs  |  7  would  |  draw 

her  |  thence ;  | 
7  Which  |  ever,  |  7   as  she  |  could   with  |  haste  de-  | 

spatch,  | 

7  She'd  |  come  a-  |  gain,  |  and  with  a  |  greedy  |  ear  | 
7  De-  |  vour  up  |  7  my  dis-  |  course  :  |  7  7  |  7  which  | 

I  ob-  |  serving,  | 
Took  |  once  |  7  a  |  pliant  |  hour ;  |  7  7  |  7  and  |  found  | 

good  |  means  | 

7  To  |  draw  from  her  |  7  a  |  prayer  of  |  earnest  |  heart,  | 
That  I  would  |  all  |  7  my  |  pilgrimage  |  7  di-  |  late,  | 
7  Where-  |  of  by  |  parcels  |  7   she  had  |  something  | 

heard,  | 
7  But  |  not  dis-  |  tinctively.  |  7  7  |  7  7  |  I  |  did  con-  | 

sent,  | 
7  And  |  often  |  7   did  be-  |   guile   her  |   7  of  her  | 

tears  |  7  7  | 

When  I  did  |  speak  of  |  some  dis-  |  tressful  |  stroke  | 
7  That  my  |  youth  |  sufFer'd.  |  7  7  |  7  7  |  7  My  |  story  | 

being  |  done,  | 
7  She  |  gave  me,  |  7  for  my  |  pains,  |  7  a  |  world  of  1 

sighs!  |  7  7  | 
7  She  |  swore,  |  7  "  In  |  faith  |  7  'twas  |  strange,  |  7  'twas 

|  passing  |  strange ;  |  7  7  | 

7  'Twas  |  pitiful,  |  7  'twas  |  wonderous  |  pitiful."  |  7  7  | 
7  She  |  wish'd  |  7  she  |  had  not  |  heard  it ;  |  7  7  |  yet  she 

|  wish'd  | 
That  |  heaven  had  |  made  |  her  |  such  a  |  man ;  |  7  7  |  7 

she    thank'd  me     7  7 


EXERCISES.  273 

7  And  |  bade  me,  |  7  7  |  if  I  had  a  |  friend  that  |  lov'd 

her,  ! 

7  I  |  should  but  |  teach  him  |  how  to  |  tell  my  |  story,  | 
7  And  j  that  would  |  woo  her.  |  7  7  |  7  7  |  7  On  |  this  | 

hint  |  7  I  |  spake.  |  7  7  |  7  7  | 
7  She  |  lov'd  |  me,  |  7  for  the  |  dangers  |  7  I  had  | 

pass'd ;  |  7  7  | 

7  And  |  I  |  lov'd  |  her  |  that  she  did  |  pity  them.  |  7  7  | 
This,  |  only,  |  7  is  the  |  witchcraft  |  7  I  have  |  used.  | 

771771 


CHILDE     HAROLD. 


CANTO  IX.       CLXXXVI. 


Oh  !  that  the  |  Desert  |  7  were  my  |  dwelling  place,  | 
7  With    one  |  fair  |  Spirit  |  7  for  my  |  minister,  | 
7  7  |  That  I  might  |  all  for-  |  get  the  |  human  |  race,  | 
7  And  |  hating  |  no  one,  |  7  7  |  love  |  7  but  |  only  |  her !  | 

77  |  7  7 

Ye      Elements !  |  7  in  |  whose  en-  |  nobling  |  stir  | 
7  I  |  feel  myself  ex-  |  alted;  |  7  7  |  Can  ye  |  not  | 
7  Ac-  |  cord  me  |  such  a  |  being  ?  |  7  7  |  7    7  |  Do   I 

|  err  | 
7   In   |   deeming   |    such    |  7   in-   |   habit  |  many  a   | 

spot  ?  |  7  7  | 
Though  |  with  them  |  7  to  con-  |  verse,  |  7  can  |  rarely 

|  be  our  |  lot.  I  7  7  I  7  7  | 


274  GRAMMAR  OF  ELOCUTION. 

There  is  a  |  pleasure  |  7  in  the  |  pathless  |  woods,  [  7  7  | 
There  is  a  |  rapture  |  7  on  the  |  lonely  |  shore,  |  7  7  | 
There  is  so-  |  ciety,  |  7  where  |  none  in-  |  trudes,  | 
7   By  the  |  deep  |  sea,  |  7    and  |  music  |   7   in   its  | 

roar.  |  7  7  | 
7  I  |  love  not  |  man  |  7   the  |  less,  |  7   but  |  nature  | 

more,  | 

7  From  |  these  our  |  interviews  |  7  in  |  which  I  |  steal  | 
7  From  |  all  I  |  may  be,  |  7  or  |  have  been  |  7  be-  | 

fore,  |  7  7  |    " 

7  To  |  mingle  |  7  with  the  |  universe,  |  and  |  feel  | 
What  I  can  |  ne'er  ex-  |  press,  |  7  yet  |  cannot  |  all  |  7 

con-  |  ceal.  |  7  7  |  7  7  | 
Roll  |  on  I  7  thou  |  deep  |   7  and  |  dark  |  blue  |  ocean,  ] 

77|roU!  '77  |  77' 
Ten  |  thousand  |  fleets  |  7  7  |  sweep  |  over  thee  |  7  in  | 

vain,  |  7  7  |  7  7  | 
Man  |  marks  the  |  earth  |  7  with  |  ruin,  |  7  7  |  his  con- 

|  trol| 
Stops  with  the  |  shore;   |   7  7  |   upon  the  |  watery  | 

plain,  | 
7  The  |  wrecks  are  |  all  |  thy  |  deed ;  |  7  7  |  nor  doth 

re-  |  main  | 
7   A  |  shadow  of  |  man's  |  ravage,   |   7  7  |  save  his  | 

own  |  7  7  | 

When  for  a  |  moment,  |  7  7  |    like  a  |  drop  of  |  rain,  | 
7  He  |  sinks  into  thy  |   depths  |  7  with   |   bubbling  | 

groan,  | 
7  With-  |  out  a  |  grave,  |  7  7  |  7  un-  |  knell'd,  |  7  un-  | 

coffin'd,  |  7  and  un-  |  known.  |  7  7  |  7  7  | 
7  His  |  steps  |  7  are  |  not  upon  |  thy  |  paths;   |  thy  ) 

fields  | 


EXERCISES.  275 

7  Are  |  not  a  |  spoil  |  7  for  |  him  ;  |  7  7  |  thou  dost  a-  | 

rise  | 
7  And  |  shake  him  |  from  thee ;  |  7  7  |   7  the  |  vile  | 

strength  he  |  wields  | 
7  For  |  earth's  de-  |  struction,  |  7  7  |  thou  dost  |  all  des-  | 

pise,  |  7  7  | 

Spurning  him  |  7  from  thy  |  bosom,  |  7  to  the  |  skies,  |  7  7  | 
7  And  |  send'st  him,  |  shivering  |  in  thy  |  playful  |  spray  | 
7  And  |  howling  |  7  to  his  |  Gods,  |  7  7  |  where  |  haply  | 

lies  | 
7  His  |  petty  |  hope,  |  7  in  |  some  |  near  |  port  |  7  or  | 

bay,  |  7  7  | 
Then  |  dashest  him  |  7  a- 1  gain  |  7  to  |  earth,  |  7  7  |  there 

|  let  him  |  lay.  |  7  7  |  7  7  | 

7  The  |  armaments  |  7  which  |  thunderstrike  |  7  the  | 

walls  | 
7   Of  |  rock-built  |  cities,  |  7  7  |  bidding  |  nations  | 

quake,  |  7  7  | 

7  And  |  monarchs  |  7  7  |  tremble  |  7  in  their  |  capitals,  | 
7  7  |  7  The  |  oak  le-  |  viathans,  |  7  whose  |  huge  |  ribs 

|  make  | 
7  Their  |  clay  ere-  |  ator  |  7  7  |  7  the  |  vain  |  tide  | 

take,  | 

7  Of  |  lord  of  |  thee,  |  7  and  |  arbiter  of  |  war!  | 
These  are  thy  |  toys,  |  7  7  |  and  as  the  |  snowy  |  flake,  | 
7  They  |  melt  into  thy  |  yeast  of  |  waves,  |  7  which  | 

mar  | 
7  A-  |  like  the  Ar-  |  mada's  |  pride,  |  or  |  spoils  of  | 

Trafal-  |  gar.  |  7  7  |  7  7  | 
7  Thy  |  shores  are  |  empires  |  7  7  |  chang'd  in  |  all  | 

save  I  thee,  I 


276  GRAMMAR    OF    ELOCUTION. 

7  7  |  7  As-  |  syria,  |  7  7  |  Greece,  |  7  7  [  Rome,  |  7  7  | 

Carthage,  |  7  7  |  what  are  |  they  ?  | 
7   7  |  Thy  |  waters  |  wasted  them  |  7  7  |  while   they 

were  |  free,  | 
7  7  |  7  And  |  many  a  |  tyrant  |  since  :  |  7  7  |  7  their  | 

shores  |  7  o-  |  bey  | 
7  The  |  stranger,  |  slave,  |  7   or  |  savage;  |  7    7  |  their 

de-  |  cay  | 
7  Has  |  dried  up  |  realms  |  7  to  |  deserts,  |  7  7  |  not  | 

so  |  thou,  |  7  7  | 
Un-  |  changeable,  |  7  7  |  save  to  thy  |  wild  [  waves  | 

play:  |  77  | 
Time  |  writes  |  no  |  wrinkle   |   7  on   |  thine  |  azure  | 

brow;  | 
7  7  |  Such  as  ere-  |  ation's  |  dawn  |  7  be-  |  held,  |  7  7  | 

7  thou  |  rollest  |  now.  |  7  7  |  7  7  | 

Thou,  |  7  7  |  glorious  |  mirror  7   |    where  the  Al-  | 

mighty's  |  form    7  7 1 
Glasses  it-  |   self  in  |  tempests;    \   7  7   |  7  hi  |   all  | 

time,  |  7  7  | 
Calm  or  con-  |  vuls'd  |  7  7  |   7  in  |  breeze  |  or  |  gale,   | 

or  |  storm,  | 

7  7  |  Icing  the  |  pole,  |  or  in  the  |  torrid  |  clime  | 
Dark  |  heaving  ;  |  7  7  |  boundless,  |  7  7  |  endless,  |  7  7  | 

7  and  sub-  |  lime  |  7  7  | 

7  The  |  image  of  E-  |  ternity  !  |  7  7  |  7  the  |  throne,  | 
7  Of  the  In-  |  visible ;  |  7  7  |  even  from  |  out  thy  | 

slime  | 
7  The  |  monsters  of  the  |  deep  |  7  are  |  made  :  |  7  7  | 

each  I  zone  I 


EXERCISES.  277 

7  O-  I  beys  thee  ;  |  7  7  |  thou  |  goest  |  forth  |  dread  | 
fathomless,  |  7  a-  |  lone.  |  7  7  |  7  7  | 

And     I  have  |  loved   thee,  |  Ocean !  |  7   and  my   | 

j°y  I 
7  Of  |  youthful  |  sports  |  was  on  thy  |  breast  |  to  be  | 

Borne,  |  like  thy   |   bubbles,  |  onward:  |  7  from  a   | 

boy  | 

7  I  |  wanton'd  with  thy  |  breakers ;  |  7  7  |  they  to  |  me  | 
Were  a  de-  |  light ;  |  7  7  |  and  if  the  |  freshening  | 

sea  | 
Made  them  a  |  terror,  |  7  .7  |  7  'twas  a  |  pleasing  | 

fear,  | 

7  For  |  I  was  |  7  as  it  were  |  7  a  |  child  of  |  thee  | 
7   And   |  trusted   to  thy   |  billows  |   7   7  |  far  and  | 

near,  | 
7  And  |  laid  my  |  hand  |  7  upon  thy  |  name,  |  7  as  I  | 

do    here.     7  7     7  7 


LORD    THURLOW'S    REPLY    TO     THE    DUKE    OF    GRAFTON. 

The  Duke  had  (in  the  House  of  Lords)  reproached  Lord 
Thurlow  with  his  plebian  extraction,  and  his  recent 
admission  to  the  peerage.  Lord  Thurlow  rose  from 
the  woolsack,  and  advanced  slowly  to  the  place  from 
which  the  Chancellor  addresses  the  house,  then  fixing 
his  eye  upon  the  Duke,  spoke  as  follows. 

7  My  |  Lords,  7  |  7  7  |  I  am  a-  |  mazed,  |  7  7  |  yes 
my  |  Lords,  7  |  I  am  a-  |  mazed  at  his  |  Grace's  | 

24 


278  GRAMMAR    OF    ELOCUTION. 

speech.  |  7  7  |  7  7  |  7   The  |  noble  |  duke  |  cannot  | 
look  be-  |  fore  him,  |  7  be-  |  hind  him,  |  7  or  on  |  either 
|  side  of  him,  |  7  with-  |  out  7  |  seeing  |  some  7  |  noble 
|  peer,  7  |  7  who  |  owes  his  |  seat  7  |  7  in  this  |  house  | 
7  to  his  sue-  |  cessful  ex-  |  ertions,  |  7  in  the  pro-  |  fes- 
sion  |  7  to  |  which  7  |  I  be-  |  long.  7  |  7  7  |  7  7  |  Does 
he  not  |  feel  7  |  that  it  is  as  |  honorable  |  7  to  |  owe  it 
to  |  these,  |  7  as  to  |  being  the  |  accident  |  7  of  an  |  ac- 
cident? |  7  7  |  7  7  |  7  To  |  all  these  |  noble  |  Lords,  7  | 
7  the  |  language  of  the  [  noble  |  Duke  7  |  is  as  |  appli- 
cable |  and  as  in-  |  suiting  |  7  as  it  |  is  to  my-  |  self.  7 
7  7  |  7  7  |  But   I  |  do   not  |  fear  7  |  7  to  |  meet  it 
single  |  7  and  a-  |  lone.  7  |  7  7  |  7  7  |  No-  one  |  vene 
rates  the  |  peerage  |  more  than  |  I  do.  |  7  7  |  But  my 
Lords,  7  |  7  I  |  must  7  |  say  7  |  7  that  the  |  peerage 
7  so-  |  licked  |  me,  |  7  7  |  7  not  |  I  |  7  the  |  peerage. 
77|77| 

Nay  7  |  more,  |  7  7  |  7  I  |  can  and  |  will  7  |  say,  7 
7  7  |  that  as  a  |  peer  of  |  parliament,  |  7  7  |  7  as 
speaker  |  7  of  this  |  right  |  honorable  |  house,  |  7  7  |  7 
as  |  keeper  of  the  |  great  7  |  seal,  7  |  7  7  |  7  as  |  guar- 
dian |  7  of  his  |  majesty's  |  conscience,  |  7  7  |  7  as  | 
Lord  |  high  |  Chancellor  of  |  England,  |  7  7  |  nay,  7  | 
even  in  |  that  |  character  |  7  a-  |  lone,  |  7  in  |  which  the 
|  noble  |  duke  7  |  7  would  |  think  it  an  af-  |  front  7  |  7 
to  be  con-  |  sidered,  |  7  but  |  which  |  character  |  none 
can  de-  |  ny  7  |  me,  7  |  7  7  |  as  a  |  MAN,  7  |  7  I  | 
am  at  this  |  moment  |  as  res-  |  pectable ;  |  7  7  |  7  I  | 
beg  7  |  leave  to  |  add,  7  |  7  as  |  much  re-  |  spected,  | 
7  as  the  |  proudest  |  peer  7  )  7  I  |  now  |  look  |  down 
upon.  7  |  7  7  |  7  7  | 


EXERCISES.  279 


TRIBUTE    OF    MR.    BURKE  TO    THE  ENTERPRISING  SPIRIT 
OF    THE    NEW-ENGLAND    COLONISTS. 

As  to  the  |  wealth,  7  |  Mr.  |  Speaker,  |  which  the  | 
colonies  |  7  have  |  drawn  from  the  |  sea  |  7  by  their 
fisheries,  |  7  7  |  you  had  |   all  |  that  |  matter  |  fully 
opened  |  7  at  your  |  bar.  7  |  7  7  |  7  7  |  7  You  |  surely 
thought  |  those  acqui-  |  sitions  |  7  of  |  value,  |  T  7  |  for 
they  |  seemed  |  even  to   ex-  |  cite  your  |  envy;  |  7  7 
7  and  |  yet 7  I  7  the  |  spirit  |  7  by  |  which  that  |  enter- 
prising em-  |  ployment  |  7  has  been  |  exercised,  |  7  7 
ought  |  rather,  |  7  in  |  my    o-  |  pinion,  |  7  to  have 
raised  your  es-  |  teem  and  |  admi-  |  ration.  |  7  7  |  7  7 
7  And  |  pray,  Sir,  |  what  in  the  |  world  7  |  7  is  |  equal 
to  it  ?  |  7    7  |  7  7  j  Pass  |  by  the  |  other  |  parts,  7  |  7 
and  |  look  at  the  |  manner  |  7  in  |  which  the  |  people  of 
|  New-   |  England  |  have   of  |  late  |  carried    |  on  |  7 
the  |  whale  |  fishery.  |  7  7  |  7  7  | 

Whilst   we  |  follow  them  |  7  a-  |  mong  the  |  tumb- 
ling |  mountains  of  |  ice,  |  7  and  be-  |  hold  them  |  pen- 
etrating |  7  into  the  |  deepest  |  frozen  re-  |  cesses  |  7  of 
|   Hudson's  |  Bay,  |  7  and  |  Davis's  |  Straights,  |  7  7 
whilst  we  are  |  looking   for  them  |  7  be-  |  neath  the 
arctic  |  circle,  |  7  7  |  7  we  |  hear  that  they  have  |  pier 
ced  |  7  into  the  |  opposite  |  region  of  |  polar  |  cold,  7 
7  7  |  that  they  are  |  at  the  an-  |  tipodes,  |  7  7  |  and  en- 
gaged |  under  the  |  frozen  |  serpent  |  7  of  the  |  south. 
7  7  |  7  7  |  Falkland  |  Island,  |  7  which  |  seemed  |  too 
re-  |  mote  7  |  7  and  ro-  |  mantic  an  |  object  |  7  for  the 
grasp  of  |  national  am-  |  bition,  |  7  7  |  is  but  a  |  stage  and 


280  GRAMMAR    OF    ELOCUTION. 

resting  |  place  |  7  in  the  |  progress  |  7  of  their  vie-  |  to- 
rious  |  industry.  |  7  7  |  7  7  | 

Nor  is  the  |  equi-  |  noctial  |  heat  |  more  dis-  |  coura- 
ging  to  them,  |  7  7  |  than  the  ac-  |  cumulated  |  winter  | 
7  of  |  both  the  |  poles.  |  7  •}  |  7  7  |  7  We  |  know  that  | 
whilst  |  some  of  them  |  draw  the  |  line  |  7  and  |  strike 
the  har-  |  poon  |  7  on  the  |  coast  of  |  Africa,  |  7  7  | 
others  |  run  the  |  longitude,  |  7  and  pur-  |  sue  their  gi-  | 
gantic  |  game  |  7  a-  |  long  the  |  coast  of  Bra-  |  zil.  7  | 
7  7  |  7  7  |  No  |  sea  |  7  but  |  what  is  |  vexed  by  their  | 
fisheries.  |  7  7  |  7  No  |  climate  |  7  that  |  is  not  |  witness 
to  their  |  toils.  7  |  7  7  |  7  7  |  Neither  the  |  perse-  |  ver- 
ance  of  |  Holland,  |  7  7  |  nor  the  ac-  |  tivity  of  |  France, 
7  |  7  7  |  nor  the  |  dexterous  |  7  and  |  firm  sa-  |  gacity 
of  |  English  |  enter-  |  prise,  7  |  ever  |  carried  |  this 
most  |  perilous  |  mode  of  |  hardy  |  industry  |  7  to  the 
ex-  |  tent  |  7  to  |  which  it  has  been  |  pushed  |  7  by  this 
|  recent  |  people ;  |  7  7  |  7  a  |  people  |  who  are  |  still,  | 
as  it  were,  |  7  7  |  but  in  the  |  gristle,  |  7  7  |  7  and  |  not 
yet  |  hardened  |  into  the  |  bone  of  |  manhood.  |  7  7  | 
77| 

When  I  con-  |  template  |  these  |  things,  7  |  7  7  |  when 
I  |  know  |  that  the  |  colonies  |  7  in  |  general  |  owe  |  lit- 
tle or  |  nothing  |  7  to  |  any  |  care  of  |  ours,  7  |  and  that 
they  |  are  not  |  squeezed  |  into  this  |  happy  |  form  |  by 
the  con-  |  straints  of  a  |  watchful  |  7  and  sus-  |  picious  | 
government,  |  7  7  |  but  that  |  mrough  a  |  wise  and  |  sal- 
utary |  neglect  |  7  a  |  generous  |  nature  |  has  been  | 
suffered  |  7  to  |  take  her  |  own  |  way  to  per-  |  fection ;  | 
7  7  |  when  I  re-  |  fleet  upon  |  these  ef-  |  fects,  |  7  7  | 
when  1  |  see  7  |  7  how  |  profitable  |  they  have  |  been 
to  us,  |  7  I  |  feel  |  all  tlie  |  pride  of  |  power  |  sink,  |  7  7 


EXERCISES.  281 

|  7  and  |  all  pre-  |  sumption  |  7  in  the  |  wisdom  of  |  hu- 
man con-  !  trivances  |  melt,  |  7  and  |  die  a-  |  way  |  7 
with-  |  in  me.  |  7  7  |  7  7  |  7  My  |  rigor  re-  |  lents.  7  | 
7  7  |  7  7  |  7  I  |  pardon  |  something  |  7  to  the  |  spirit  of 
|  liberty.  |  7  7  |  7  7  | 


APOSTROPHE  TO  THE  QUEEN  OF  FRANCE. 

Burke. 

7  It  is  |  now,  7  |  sixteen  or  |  seventeen  |  years  7  |  since 
I  |  saw  the  |  Queen  of  |  France,  7  |  then  the  |  Dauphi- 
ness,  |  7  at  Ver-  |  sailles :  7  |  7  7  |  7  and  |  surely  |  never 
|  lighted  on  this  |  orb,  7  |  7  which  she  |  hardly  |  seemed 
to  |  touch,  7  |  7  a  |  more  de-  |  lightful  |  vision.  |  7  7  |  77  | 
7  1 1  saw  her  |  just  a-  |  hove  the  ho-  rizon,  |  7  7-|  deco- 
rating and  |  cheering  |  7  the  |  elevated  |  sphere  7  she  | 
just  be-  |  gan  to  |  move  in :  |  7  7  glittering,  |  7  like  the  | 
morning  |  star ;  |  7  7  |  full  of  |  life,  7  |  7  and  |  splendor,  | 
7  and  |  joy.  7  |  7  7  |  7  7  | 

Oh  !  |  what  a  |  revo-  |  lution !  |  7  7  |  7  and  what  a  | 
heart  7  j  must  1 1  have,  |  7  to  |  contemplate  |  7  with-  |  out 
e-  |  motion,  |  that  |  ele-  |  vation  |  7  and  |  that  7  |  fall.  7 
|  77|  77  | 

Little  |  did  I  |  dream  |  7  that  |  when  she  |  added  | 
titles  of  |  vene-  |  ration  |  7to  |  those  of  en-  |  thusi-  |  as- 
tic,  |  distant,  |  7  re-  |  spectful  |  love,  7  |  7  7  |  that  she 
should  |  ever  be  o-  |  bliged  |  7  to  J  carry  j  7  the  |  sharp 
|  antidote  a-  |  gainst  dis-  |  grace  7  |  7  con-  |  cealed  in  | 
that  |  bosom ;  |  7  7  |  7  7  |  little  did  I  |  dream  7  |  that  I 
24* 


282  GRAMMAR    OF    ELOCUTION. 

should  have  |  lived  to  }  see  7  |  such  dis-  |  asters  |  fallen 
up-  |  on  her  |  7  in  a  |  nation  of  |  gallant  |  men ;  7  |  7  7 
|  7  7  |  7  in  a  |  nation  of  |  men  of  |  honor  |  7  and  of  | 
cava-  |  Hers.  |  7  7  |  7  7  |  7  I  |  thought  |  ten  ]  thousand 
|  swords  7  |  must  have  |  leaped  from  their  |  scabbards, 
|  7  7  |  7  to  a-  |  venge  |  even  a  |  look  7  |  7  that  |  threat- 
ened |  her  with  |  insult.  |  7  7  |  7  7  |  7  But  the  |  age  of 
)  chivalry  |  7  is  |  gone.  |  7  7  |  That  of  |  sophisters,  |  7 
e-  |  conomists  and  |  calculators,  |  7  has  sue-  |  ceeded ;  | 
7  7  |  7  and  the  |  glory  of  |  Europe  |  7  is  ex-  |  tinguish- 
ed  for  |  ever.  |  7  7  |  7  7  |  Never  |  ?  7  |  never  |  more, 
7  |  shall  we  be-  |  hold  7  |  that  |  generous  |  loyalty  |  7 
to  |  rank  and  |  sex,  7  |  7  7  |  7  that  |  proud  sub-  |  mis- 
sion, |  7  7  |  7  that  |  dignified  o-  |  bedience,  |  7  7  | 
7  that  sub-  |  ordi-  |  nation  of  the  |  heart,  7  |  7  7  |  7 
which  |  kept  a-  |  live,  7  |  even  in  |  servitude  it-  |  self, 
7  |  7  the  |  spirit  |  7  of  an  ex-  |  alted  |  freedom.  |  7  7  | 
7  7  |  7  The  |  unbought  |  grace  of  |  life,  7  |  7  the  |  cheap 
de-  |  fence  of  |  nations,  |  7  7  |  7  the  |  nurse  of  |  manly 
|  sentiment  |  7  and  he-  |  roic  |  enterprize  |  7  is  |  gone ! 
7  |  7  7  |  7  It  is  |  gone,  7  |  that  |  sensi-  |  bility  of  |  prin- 
ciple, |  7  7  |  7  that  |  chastity  of  |  honor,  |  7  7  |  7  which 
|  felt  a  |  stain  7  |  like  a  |  wound,  7  |  7  7  |  which  in-  | 
spired  |  courage  |  7  whilst  it  |  mitigated  fe-  |  rocity,  |  7 
7  |  which  en-  |  nobled  |  7  what-  |  ever  it  |  touched ;  | 
7  7  |  7  and  |  under  |  which  7  |  vice  it-  |  self  |  lost  | 
half  its  |  evil,  |  7  by  |  losing  |  all  its  |  grossness.  |  7  7  | 
77| 


EXERCISES.  283 

ELEGY  IN  A  COUNTRY  CHURCH  YARD. 

Gray. 

Reprinted  according  to  the  original  copy. 

7  The  |  curfew  |  tolls,  |  7  7  |  7  the  |  knell  of  |  parting  | 

day,  7  | 
7  The  |  lowing  |  herd  |  wind  |  slowly  |  7  o'er  the  | 

lea;  7  |  77  | 
7  The  |  ploughman  |  homeward  |  plods  his  |  weary  | 

way,  7  | 
7  7  |  7  And  |  leaves  the  |  world  7  |  7  to  |  darkness  |  7 

and  to  |  me.  7  |  77  |  77  | 

Now  |  fades  the  |  glimmering  |  landscape  |  7  on  the  | 

sight,  7  | 
7  7  |  7  And  |  all  the  |  air  |  7  a  |  solemn  |  stillness  | 

holds  7  | 
Save  1  7  where  the  |  beetle  |  wheels  his  |  droning  | 

flight  7  | 
7  And  |  drowsy  |  tinklings  |  lull  the  |  distant  |  folds.  7  | 

77|77  | 

Save  that  |  7  from  |  yonder  |  ivy  |  mantled  |  tower  | 
7  The  |  moping  |  owl  7  |  does  to  the  |  moon  com-  | 

plain  | 

7  Of  |  stfch  as  |  wandering  |  near  her  |  secret  |  bower  | 
7  Mo-  |  lest  her  |  ancient  |  7  7  |  solitary  |  reign.  I  7  7  |  7  7  | 

7  Be-  |  neath  |  those  |  rugged  |  elms,  |  7  that  |  yew  tree's 

I  shade  7  | 
7  Where  |  heaves  the  |  turf  in  |  many  a  |  mouldering  | 

heap  7  | 
Each  in  his  |  narrow  (  cell  7  |  7  for  |  ever  |  laid  7  | 


284  GRAMMAR    OF    ELOCUTION. 

7  The  !  rude  |  fore-  |  fathers  of  the  |  hamlet  j  sleep.  7  | 

7  7  |  7  7  | 

7  The  |  breezy  |  call  of  |  incense  |  breathing  |  morn,  7  | 
7  The  |  swallow  |  twittering  |  7  from  the  straw-built  | 

shed,  7  | 

7  The  |  cock's  shrill  |  clarion,  1 7  or  the  |  echoing  |  horn  7  | 
7  No  |  more  shall  |  rouse  them  |  7  from  their  |  lowly  | 

bed.  7  |  7  7  |  7  7  | 

7  For  |  them  7  |  no  |  more  7  |  7  the  |  blazing  |  hearth 

shall  |  burn  7  | 

7  Nor  |  busy  |  housewife  |  ply  her  |  evening  |  care ;  7  | 
7  7  |  No  |  children  |  run  |  7  to  |  h'sp  their  |  sire's  re-  | 

turn  7  | 
7  7  |  7  Or  |  climb  his  |  knees,  7  |  7  the  |  envy'd  |  kiss 

to  |  share.  |  7  7  |  7  7  | 

Oft  did  the  |  harvest  |  7  to  their  |  sickle  |  yield,  7  |  7  7  | 
7  Their  |  furrow  |  oft  |  7  the  |  stubborn  |  glebe  |  7  has 

|  broke ;  | 
7  7  |  How  |  jocund  |  7  did  they  |  drive  their  |  team  a-  | 

field,  7  |  7  7  | 
How  |  bowed  the  |  woods  7  |  7  7  |  7  be-  |  neath  their  | 

sturdy  |  stroke.  |  7  7  |  7  7  | 

Let  not  Am-  |  bition  |  7  7  |  mock  their  |  useful  |  toil,  7  | 
7  Their  |  homely  |joys,  7  |  7  and  | destiny  ob-  |%cure,  7  | 
7  Nor  |  Grandeur  |  hear  7  |  with  a  dis-  |  dainful  | 

smile  7  | 
7  The  |  short  and  |  simple  |  annals  |  7  of  the  |  poor.  | 

77|77| 

7  The  |  boast  of  |  heraldry,  |  7  the  |  pomp  of  |  power,  | 


EXERCISES.  285 

7  And  |  all  that  |  beauty,  |  7  7  |  all  that  |  wealth,   7  | 

e'er  |  gave,  | 

7  A-  |  wait,  a-  |  like,  7  |  7  the  in-  |  evitable  |  hour ;  7  | 
7  7  |  7  The  |  paths  of  |  glory  |  7  7  |  lead  7  |  but  to  the 

grave.  |  7  7  |  7  7  | 

7  Nor  |  you,  I  7  ye  |  Proud  !  7  |  7  im-  |  pute  to  |  these 

the  |  fault,  7  | 
7  If  |  memory  |  7  o'er  their  |  tomb  7  |  no  |  trophies  | 

raise  7  |  7  7  | 
Where  thro'  the  |  long-drawn  |  aisle  7  |  7  and  |  fretted 

|  vault,  7  | 
7  The  |  pealing  |  anthem  |  swells  the  |  note  of  |  praise.  7  | 

Can    storied  |  urn,  7  |  7  or  |  animated  |  bust  7  | 
Back  to  its  |  mansion,  |  7  7  |  call  the  |  fleeted  |  breath  ?  7  | 
7  7  |  7  Can  |  honor's  |  voice  |  7  pro-  |  voke  the  |  silent 

|  dust?  7  | 
7  Or  |  flattery  |  soothe  7  |  7  the  |  dull  |  cold  |  ear  of  | 

death.  7  |  7  7  |  7  7  | 

7  Per-  |  haps  7  |  7  in  |  this  neg-  |  lected  j  spot,  7  |  7  is 

I  laid,  7  | 
Some  |  heart  |  once  [  pregnant  |  7  with  ce-  |  lestial  | 

fire;  |  7  7| 
Hands  7  |  7  that  the  |  rod  of  |  empire  |  7  might  have  | 

sway'd,  7  | 
7  Or  |  waked  to  |  ecstacy  |  7  the  |  living  |  lyre.  |  7  7  |  7  7  | 

7  But  |  knowledge  |  7  to  |  their  |  eyes,  7  |  7  her  |  am- 
ple |  page,  | 

Rich  with  the  |  spoils  of  |  Time,  7  |  7  did  j  ne'er  un-  | 
roll;  7|  7  7|7  7  | 

Chill  |  Penury  |  7  re-  |  press'd  their  |  noble  |  rage,  7  | 


286  GRAMMAR   OF    ELOCUTION. 

7  And  [  froze  the  |  genial  |  current  |  7  of  the  |  soul.  | 

77|77| 

Full  7  |  many  a  |  gem  of  |  purest  |  ray  se-  |  rene,  7  | 
7  The  |  dark  |  7   un-  |  fathom'd  |  caves  of  |  ocean  | 

bear ;  7  | 
Full  |  many  a  |  flower  |  7  is  |  born  |  7  to  |  blush  un-  | 

seen,  7  | 
7  And  |  waste  its  |  sweetness  |  7  on  the  |  desert  |  air.  7 1 

77|77| 

Some  |  village  |  Hampden,  |   7  that  with  |  dauntless  | 

breast,  7  | 

7  The  |  little  |  tyrant  of  his  |  fields  |  7  with-  |  stood ;  7  | 
Some  |  mute  in- 1  glorious  |  Milton  |  here  may  |  rest,  7  | 
Some  |  Cromwell,  |  7  7  |  guiltless  of  his  |  country's  | 

blood.  7  |  7  7  |  7  7  | 

7  The  ap-  |  plause  of  |  listening  |  senates  |  7  to  com-  | 

mand  ;  7  | 
7   7  The  |  threats  of  |  pain   and  |  ruin  |  7   to   des-  | 

pise  ;7  |  77  | 

7  To  |  scatter  |  plenty  |  7  o'er  a  |  smiling  |  land,  7  | 
7  And  |  read  their  |  history  |  7  in  a  |  nation's  |  eyes;  7  | 

Their  |  lot  for-  |  bade :  7  |  7  nor  |  circum-  |  scribed  a-  | 

lone  7  | 
7  Their  |  growing  |  virtues,  |  7  but  their  |  crimes  con-  | 

fined  ;  7  | 

7  For- 1  bade  to  |  wade  thro'  |  slaughter  |  7  to  a  |  throne,  7  | 
7  And  |  shut  the  |  gates  of  |  mercy  |  7  on  man-  |  kind ;  7  | 

7  The  |  struggling  |  pangs   of  |  conscious  j  Truth  to  | 

hide;  7  | 
7  To  quench  the  |  blushes  |  7  of  in-  |  genuous  |  shame;  | 


EXERCISES.  287 

7  Or  |  heap  the  |  shrine  of  |  luxury  |  7  and    pride  7  | 
7  With  |  incense  |  77  |  kindled  at  the  |  Muse's  |  flame.  | 

7  7  |  7  7  | 

7  Yet  |  even  |  these  7  |  bones  7  |  7  from  |  insult  |  7  to 

pro-  |  tect,  7  | 

7  Some  |  frail  me-  |  morial  |  still,  e-  |  reeled  |  nigh,  7  | 
7  With  |  un-  |  couth  7  |  rhymes,  7  |  7  and  |  shapeless  | 

sculpture  |  deck'd,  7  | 
7  Im-  |  plores  the  |  passing  |  tribute  |  7  of  a  |  sigh.  7  | 

77  | 7  7  | 

7  Their  |  names,  7  |  7  their  |  years,  7  |  spelt  by  the  un-  | 

letter'd  |  Muse,  |  7  7  | 

7  The  |  place  of  |  fame  and  |  elegy  |  7  sup-  |  ply :  7  | 
7  7  |  7  And  |  many  a  |  holy  |  text  7  |  7  a-  |  round  she 

strews  7  | 
7  That  |  teach  the  |  rustic  |  moralist  |  7  to  |  die.  7  |  7  7 1 7  7  | 

7  For  |  who  7  |  7  to  |  dumb  for-  |  getfulness  a  |  prey,  7  | 
7  This  |  pleasing  |  anxious  |  being  |  e'er  re-  |  signed,  7  | 
Left  the  |  warm  |  precincts  |  7  of  the  |  cheerful  |  day,  7  | 
7   7  |  7  Nor  |  cast  7   |  one  |  longing  |  lingering  |  look 
be-  |  hind.  7  |  7  7  |  7  7  | 

On  |  some  |  fond  |  breast  7  |  7  the  |  parting  |  soul  re-  | 
lies,  7  j 

7  7  |  Some  |  pious  |  drops  7  |  7  the  |  closing  |  eye  re- 1 
quires,  7  | 

7  7  |  Even  from  the  |  tomb,  7  |  7  the  |  voice  of  |  Na- 
ture I  cries ;  7  |  7  7  | 

Even  in  our  |  ashes,  |  7  7  |  live  their  |  wonted  |  fires.  7  | 
77 |77| 


288  GRAMMAR   OF    ELOCUTION. 

7  For|  thee  7  |  7  who  |  mindful  |  7  of  the  un-  |  honor'd  | 

dead ;  7  | 

Dost  in  these  |  lines,  7  |  7  their  |  artless  |  tale  re-  |  late,  7 1 
7  By  |  chance  and  |  lonely  |  contem-  |  plation  |  led,  7  | 
7  To  |  wander  |  7  in  the  I  gloomy  |  walks  of  |  fate ;  7  | 

Hark !   7  |  7  7  |  how  the  |  sacred  |  calm     |  7  that  | 

breathes  a-  |  round,  7  | 

Bids  |  every  |  fierce  tu-  |  multuous  |  passion  |  cease ;  7  | 
7  7  |  7  In  |  still  |  small  |  accents  |  whispering  |  7  from 

the  |  ground,  | 
7  A  |  grateful  |  earnest  |  7  of  e- 1  ternal  |  peace.  |  7  7  |  7  7  | 

7  No  |  more  with  |  Nature  and  thy- 1  self  7 1  7  at  |  strife,  7  | 
7  Give  |  anxious  |  cares  and  |  endless  |  wishes  |  room,  7 1 
But  thro'  the  |  cool  se- 1  quester'd  |  vale  of  |  life,  7  | 
7  Pur-  |  sue  the  |  noiseless  |  tenor  |  7  of  thy  |  doom. 
|77|77| 


ON    HAPPINESS    OF    TEMPER. 

Goldsmith. 

Writers  |  7  of  |  every  |  age  |  7  have  en-  |  deavored  to 
|  show  I  7  that  |  pleasure  |  7  is  in  |  us,  |  7  and  |  not  in 
the  |  objects  |  7  7  |  offered  |  7  for  our  a-  |  musement.  | 
7  7  |  77  |  If  the  |  soul  be  |  happily  dis-  |  posed,  |  7  7  | 
every  thing  |  7  be-  |  comes  |  capable  |  7  of  af-  |  fording 
|  enter-  |  tainment;  |  7  7  |  7  and  dis-  |  tress  |  7  will  | 
almost  |  want  a  |  name.  |  7  7  |  7  7  |  Every  oc-  |  cur- 
rence  |  7  7  |  passes  in  re-  |  view  |  7  like  the  |  figures  |  7 
of  apro-  |  cession;  |  7  7  |  some  |  7  may  be  |  awkward,  | 


EXERCISES.  289 

7  7  I  others  |  ill  |  dressed ;  |  7  but  |  none  but  a  |  fool  | 
7  is  for  |  this,  |  7  en-  |  raged  with  the  |  master  of  the  | 
ceremonies.  |  7  7  |  7  7  | 

7  I  re-  |  member  |  7  to  have  |  once  |  seen  a  |  slave,  | 
7  in  a  |  fortifi-  |  cation  |  7  in  |  Flanders,  |  7  who  ap-  | 
peared  |  no  way  |  touched  |  7  with  his  |  situ-  |  ation.  | 
7  7  |  7  7  |  7  He  was  |  maimed,  |  7  de-  |  formed  |  7 
and  |  chained  :  |  7  7  |  7  o-  |  bliged  to  |  toil  |  7  from  the 
ap-  |  pearance  of  |  day  |  7  till  |  nightfall,  |  7  7  |  7  and 
con-  |  demned  to  |  this  |  7  for  |  life  ;  |  7  7  |  yet  with  | 
all  |  these  |  circumstances  |  7  of  ap-  |  parent  |  wretch- 
edness, |  7  he  |  sung,  I  7  7  |  would  have  |  danced,  |  7  7 
|  but  that  he  |  wanted  a  |  leg,  |  7  and  ap-  |  peared  the  | 
merriest,  |  happiest  |  man  |  7  of  |  all  the  |  garrison.  | 
77  |  7  7  | 

7  What  a  |  practical  I  7  phi-  |  losopher  |  7  was  |  here, 
7  7  |  7  a  |  happy  consti-  |  tution  |  7  sup-  |  plied  phi-  | 
losophy ;  |  7  and  though  |  seemingly  |  destitute  of  |  wis- 
dom, |  7  he  was  |  really  |  wise.  |  7  7  |  7  7  |  No  |  read- 
ing |  7  or  |  study  |  7  had  con-  |  tributed  |  7  to  disen-  | 
chant  |  7  the  |  fairy  |  land  |  7  a-  |  round  him.  |  7  7  | 
7  7  |  Every  thing  |  furnished  him  |  7  with  an  |  oppor-  | 
tunity  of  |  mirth,  |  7  7  |  7  and  though  |  some  |  thought 
him,  |  7  from  his  |  insensi-  |  bility,  |  7  a  |  fool,  |  7  he 
was  |  such  an  |  ideot  |  7  as  phi-  |  losophers  |  7  should  | 
wish  to  |  imitate :  |  7  7  |  7  for  |  all  phi-  |  losophy  |  7  is  | 
only  |  forcing  the  |  trade  of  |  happiness,  |  7  when  |  Na- 
tute  |  seems  to  de-  |  ny  the  |  means.  |  7  7  |  7  7  | 

They,  |  7  who  |  like  our  |  slave,  |  7  can  |  place  them- 
selves |  7  on  |  that  |  side  of  the  |  world  |  7  in  |  which  | 
every  thing  |  7  ap-  |  pears  in  a  |  pleasing  |  light,  |  7  will 
|  find  |  something  |  7   in  |  every   oc-  |  currence  |  7   to 
25 


290  GRAMMAR  OF  ELOCUTION. 

ex-  I  cite  their  |  good  |  honor.  |  7  7  |  7  7  |  7  The  | 
most  ca-  |  lamitous  e-  |  vents,  |  7  7  |  either  to  them-  | 
selves  |  7  or  |  others,  |  7  can  |  bring  |  no  |  new  af-  j 
fliction ;  |  7  7  |  7  the  |  whole  |  world  |  7  is  to  |  them,  j 
7  a  |  theatre,  |  7  on  which  |  comedies  |  only  |  7  are  | 
acted.  |  7  7  |  7  7  |  All  the  |  bustle  of  |  heroism,  |  7 
or  the  |  rants  of  am-  |  bition,  |  7  7  |  serve  |  only  to  | 
heighten  |  7  the  ab-  |  surdity  |  7  of  the  |  scene,  |  7 
and  |  make  the  |  humor  |  7  more  |  poignant.  |  7  7  | 
7  7  |  7  They  |  feel,  |  7  in  |  short,  |  7  as  |  little  |  an- 
guish |  7  at  their  |  own  dis-  |  tress,  |  7  or  the  com-  | 
plaints  of  |  others,  |  7  as  the  |  under-  |  taker,  |  7 
though  |  dressed  in  |  black,  |  feels  |  sorrow  |  7  at  a  | 
funeral.  |  7  7  |  7  7  | 

7  Of  |  all  the  |  men  |  7  I  |  ever  |  read  of,  |  7  the 
|  famous  |  Cardinal  de  |  Retz  |  7  pos-  |  sessed  this  | 
happiness  of  |  temper  |  7  in  the  |  highest  de-  |  gree.  | 
7  7  |  7  7  |  As  he  was  a  |  man  of  |  gallantry,  |  7  and 
des-  |  pised  |  7  all  that  |  wore  the  pe-  |  dantic  ap-  | 
pearance  |  7  of  phi-  |  losophy,  |  7  where-  |  ever  | 
pleasure  |  7  was  to  be  |  sold  |  he  was  |  generally  | 
foremost  |  7  to  |  raise  the  |  auction.  |  7  7  |  7  7  |  Be- 
ing a  |  uni-  |  versal  |  7  ad-  |  mirer  of  the  |  fair  |  sex, 
|  7  7  |  when  he  |  found  |  one  |  lady  |  cruel,  |  7  he 
|  generally  |  fell  in  |  love  |  7  with  an-  |  other,  |  7  from 
|  whom  he  ex-  |  pected  |  7  a  more  |  favourable  |  7  re- 
|  ception.  |  7  7  |  7  7  |  7  If  |  she,  |  too,  |  7  re-  |  jec- 
ted  his  ad-  |  dresses,  |  7  7  |  7  he  |  never  |  thought  of 
re-  |  tiring  into  |  deserts,  |  7  or  |  pining  in  |  hopeless 
dis-  |  tress ;  |  7  7  |  he  per-  |  suaded  himself,  |  7  that 
in-  [  stead  of  |  loving  the  |  lady,  j  7  he  had  |  only  | 


EXERCISES. 


291 


fancied  |  7  that  he  had  |  loved  her ;  |  7  7  |  7  and  | 
so,  |  all  was  |  well  again.  |  7  7  |  7  7  | 

7  When  |  fortune  |  wore  her  |  angriest  |  look,  |  7  7  | 
and  |  he  at  |  last  |  fell  into  the  |  power  |  7  of  his  most  | 
deadly  |  enemy,  |  7  7  |  Cardinal  |  Maza-  |  rine,  | 
7  7  |  (being  con-  |  fined  a  |  close  |  prisoner,  |  7  in 
the  |  castle  of  |  Valen-  |  ciennes,)  |  7  he  |  never  at-  | 
tempted  |  7  to  sup-  |  port  his  dis-  |  tress  |  7  by  |  wis- 
dom |  7  or  phi-  |  losophy ;  |  77  |  for  he  pre-  |  tend- 
ed to  |  neither.  |  7  7  |  7  7  |  7  He  |  only  |  laughed  | 
7  at  him-  |  self  |  7  and  his  |  persecutor ;  |  7  7  |  7  and  | 
seemed  |  infinitely  |  pleased  |  7  at  his  |  new  situ-  | 
ation.  |  7  7  |  7  7  |  7  In  |  this  |  mansion  of  dis-  |  tress,  | 
7  7  |  though  se-  |  eluded  from  his  |  friends,  |  7  7  |  7 
though  de-  |  nied  |  all  the  a-  |  musements,  |  7  and  | 
even  the  con-  |  veniences  of  |  life,  |  7  he  |  still  re-  | 
tained  his  |  good  |  humour :  |  7  7  |  laughed  at  |  all  the  | 
little  |  spite  of  his  |  enemies :  |  7  7  |  7  and  j  carried 
the  |  jest  |  so  [  far  |  as  to  be  re-  |  venged,  |  7  by  | 
writing  the  |  life  |  7  of  his  |  goaler.  |  7  7  |  7  7  | 

All  that  the  |  wisdom  of  the  |  proud  |  7  can  |  teach, 
|  is  to  be  |  stubborn  |  7  or  |  sullen,  |  under  mis-  |  for- 
tunes. |  7  7  |  7  7  |  7  The  |  Cardinal's  ex-  |  ample  |  7 
will  in-  |  struct  us  to  be  |  merry,  |  7  in  |  circumstances  | 
7  of  the  |  highest  af-  |  fliction.  |  7  7  |  7  7  |  7  It  |  mat- 
ters not  |  whether  our  |  good  |  humor  |  7  be  |  con- 
strued |  7  by  |  others,  |  7  into  |  insensi-  |  bility ;  |  7  or 
|  even  |  idiotism :  |  7  7  |  7  it  is  |  happiness  |  7  to  our-  | 
selves;  |  7  7  |  7  and  |  none  but  a  |  fool,  |  7  would  | 
measure  his  |  satis-  |  faction  |  7  by  |  what  the  |  world  | 
thinks  of  it.  |  77  |  77  | 

7  The  |  happiest  |  silly  |  fellow  |  7  I  |  ever  |  knew,  | 


292  GRAMMAR    OF    ELOCUTION. 

was  of  the  |  number  of  those  |  good  natured  |  creatures 
|  that  are  |  said  to  |  do  no  |  harm  |  7  to  |  any  but  them- 
|  selves.  |  7  7  |  7  ?  |  7  When-  |  ever  he  |  fell  into  |  any 
|  misery,  |  7  7  |  7  he  |  usually  |  called  it  |  7  7  |  "  See- 
ing |  life."  |  7  7  |  7  7  |  7  If  his  |  head  was  |  broke 
by  a  |  chairman,  |  7  or  his  |  pocket  |  picked  by  a  |  shar- 
per, |  7  he  |  comforted  himself  |  7. by  |  imitating  |  7  the 
Hi-  |  bernian  |  dialect  |  7  of  the  |  one,  |  or  the  more  | 
fashionable  |  cant  |  7  of  the  |  other.  |  7  7  |  7  7  |  No- 
thing |  came  a-  |  miss  to  him.  |  7  7  |  7  7  | 

7  His  |  inat-  |  tention  to  |  money  matters  |  7  in-  | 
censed  his  |  father  |  7  to  |  such  a  de-  |  gree,  |  7  that  | 
all  inter-  |  cession  of  |  friends,  |  7  in  his  |  favor,  |  7 
was  |  fruitless.  |  7  7  |  7  7  | 

7  The  |  old  |  gentleman  |  was  on  his  |  death  bed.  | 
7  7  |  7  7  |  7  The  |  whole  |  family,  |  7  and  |  Dick  |  7  a- 
|  mong  the  |  number,  |  7  7  |  gathered  a-  |  round  him.  | 
7  7  |  7  7  |  7  "  I  |  leave  my  |  second  |  son  |  Andrew,"  \ 
said  the  ex-  |  piring  |  miser,  |  7  "  ray  |  whole  es-  |  tate  ;  | 
7  7  |  7  and  de-  |  sire  him  |  7  to  be  |  frugal."  |  7  7  |  7  7  | 

Andrew,  |  7  in  a  |  sorrowful  |  tone,  |  7  (as  is  |  usual  | 
7  on  |  those  oc-  |  casions,)  |  7  7  |  prayed  |  Heaven  j  7  to 
pro-  |  long  his  |  life  and  |  health  |  7  to  en-  |  joy  it  him-  | 
self!  |  7  7  |  7  7  | 

7  "  1 1  recom- 1  mend  |  Simon,  |  7  my  |  third  |  son,  j  7  to 
the  |  care  of  his  |  elder  |  brother  ;  |  7  7  |  7  and  |  leave 
him  |  7  be-  |  side,  |  four  |  thousand  |  pounds." 

"  All !  |  father, "  |  7  cried  |  Simon,  |  7  (in  |  great  af-  | 
fliction,  |  7  to  be  |  sure,  )  |  7  "  may  |  Heaven  |  give  you  j 
life  and  |  health  |  7  to  en-  |  joy  it  your-  |  self!"  |  7  7  | 
7  7  | 

7  At  |  last  |  turning  to  |  poor  |  Dick,  |  7  7  |  «  as  for  | 


EXERCISES. 


293 


you,  |  you  have  |  always  |  7  been  a  |  sad  |  dog  ;  |  7.7  | 
you'll  |  never  |  come  to  j  good  ;  |  7  7  |  you'll  |  never  be  j 
rich ;  |  7  7  |  7  I  leave  |  you  |  7  a  |  shilling,  |  7  to  |  buy 
a  |  halter."  |  7  7  |  7  7  | 

"  Ah !  |  father,"  |  7  cries  |  Dick,  |  7  without  |  any  e-  | 
motion,  |  7  "  may  |  Heaven  |  give  you  |  life  and  |  health  | 
7  to  en-  I  joy  it  your-  |  self!"  |  7  7  |  7  7  | 


Mrs.  Barbauld. 

7   'Tis  |  past ;    7  |  7   the    |   sultry  |  tyrant  of  the  | 

south  7   | 
7  Has  |  spent  his  |  short-lived  |  rage.  7  |  77  |  7  More  | 

grateful  |  hours 
Move  |  silent  |  on.  7  |  7  7  |  7  The  |  skies  no  |  more  re-  | 

pel  7  | 
7  The  |  dazzled  |  sight;  7  |  7  7  |  But  with  |  mild  |  maiden  | 

beams  7  | 
7  Of  |  temper'd  |  light,  7  |  7  in-  |  vite   the  |  cherish'd  | 

eye  7  | 
7  To  |  wander  o'er  their  |  sphere ;  7  |  where  7  |  hung  a-  | 

loft,  7  | 

Dian's  |  bright  |  crescent,  |  like  a  |  silver  |  bow  7  | 
New  |  strung  in  |  heaven,  |  lifts  |  high  |  7  its  |  beamy  | 

horns,  7  | 
7  Im-  |  patient  for  the  |  night,  7  |  7  and  |  seems  to  | 

push  7  | 

25* 


294  GRAMMAR  OF    ELOCUTION. 

7  Her  |  brother  |  down  the  ]  sky.  7  |  7  7  |  Fair  |  Venus  | 

shines  7  \ 
Even   in  the  |   eye   of  |  day  ;    7  |  7  with  |  sweetest  | 

beam  7  j 
7    Pro-  |  pitious  |  shines,   and  |  shakes  a  |  trembling  | 

flood?  | 
7  Of  [  soften'd  |  radience  |  7  from  her  |  dewy  |  locks.  | 

7  7  |  7  7  I 
7  The  |  shadows  |  spread  a  j  pace ;  7  j  7  7  j  7  while  | 

meeken'd  |  eve,  7  | 
7  Her  |  cheek  yet  |  warm  with  |  blushes,  |  slow  re-  | 

tires  | 

Tlirough  the  Hes-  |  perian  |  gardens  of  the  |  west,  7  | 
7  And  |  shuts  the  |  gates  of  |  day.  7  |  7  7  |  7  'Tis  | 

now  the  |  hour  7  | 
7   When  |  contem-  |  plation  |  7    (from  her  |  sunless  | 

haunts,  | 
7  The  |  cool  |  damp  |  grotto,  |  f  7  |  7   or  the  |  lonely  | 

depth  7  | 

7  Of  |  unpierced  |  woods,   7  |  where,  7  |  wrapt  in  |  si- 
lent |  shade,  |  7  7  | 
7    She   |  mused  a-  |  way  the  |  gaudy  |  hours    of  | 

noon,  7  | 
7   And  |   fed   on  |  thoughts  |  un-  |  ripen'd    by    the  | 

sun,)  7  | 
Moves  |   forward ;    |   7   and  with  |  radiant  |  finger  | 

points  7  | 
7  To  |  yon  |  blue  |  concave,  |  swell'd  by  |  breath  di-  | 

vine :  |  7  7  | 
Where,    7   |  one   by  |  one,    the  |  living  |  eyes  of  | 

heaven  I 


EXERCISES.  29$ 

7  A-  I  wake,  |  7  7  |  quick  |  kindling  |  7  o'er  the  |  face  of  | 

ether  | 

One  |  boundless  |  blaze  ;  |  7  7  |  ten  |  thousand  |  tremb- 
ling |  fires,  7  | 
7   And  |  dancing  |  lustres,  |  where  the   un-  |  steady  | 

eye,  7  I 

Restless  |  7  and  |  dazzled,  |  wanders  |  uncon-  |  fined  7  | 
7  O'er  |  all  this  |  field  of  |  glories  :  |  spacious  |  field,  7  | 
7  And  |  worthy  of  the  |  Master!  |  he  |  7  whose  | 

hand,  7  | 

7  With  |  hiero-  |  glyphics  |  7  7  |  elder  than  the  |  Nile,  7  | 
7  In-  |  scribed  the  |  mystic  |  tablet,  |  hung  on  |  high  7  | 
7  To  |  public  |  gaze;  |  7  and  |  said,  7  |  7  A-  |  dore  O  | 

man,  7  | 
7  The  |  finger  of  thy  |  God !  7  |  7  7  |  7  From  |  what  | 

pure  |  wells  | 
7  Of  |  milky  |  light,   7  |  What  |  soft  |  7  o'er-  |  flowing 

|  urn,  7  | 
7  Are  |  all  these  |  lamps  |  so  |  fill'd  ?  7  |  these  |  friendly 

|  lamps,  7  | 

7  For-  |  ever  |  streaming  |  o'er  the  |  azure  |  deep,  | 
7  To  |  point  our  |  path,  7  |  7  and  |  light   us  to  our  | 

home.  7  |  77  |  7^7  | 
7    How  |  soft   they  |  slide    a-  |  long    their   |  lucid   | 

spheres!  | 

7  And  |  silent  as  the  |  foot  of  |  time,  7  |  7  ful-  |  fil  7  | 
7  Their  |  destin'd  |  courses.  |  7   7  |  Nature's  |  self  |  7 

is  |  hush'd  | 
And    7   |  (but    a  |  scatter'd   |   leaf  which  |   rustles  | 

through  7  | 
7  The  |  thick-wove   |  foliage,)   |  not  a  |  sound  |  is  | 

heard  7  I 


296  GRAMMAR    OF    ELOCUTION, 

7  To  |  break  the  |  midnight  |  air  :  7   |  though  the  raised 

|  ear,  7  | 
7  In-  |  tensely  |  listening,  |  drinks  in  |  every  |  breath.  7  | 

7  7  |  7  7  | 
How  |  deep  the  |  silence,  |  yet  how  |  loud  the  |  praise ! 

|   77|77| 

7  But  |  are  they  |  silent  |  all  ?  7  |  7  or  |  is  there  not  | 
7   A  |  tongue  in  |  every  |  star  7  |  7  that  |  talks  with 

man,  7  | 
7  And  |  woos  him  to  be  |  wise  ?  7  |  7  nor  |  woos  in  |  vain  : 

7|77|77| 
7   This  |  dead    of  |  midnight  j  7    is    the  |  noon    of  | 

thought,  7  | 
7  And  |  wisdom  |  mounts  her  |  zenith  |  7   with  the  | 

stars.  7  |  7  7  |  7  7  | 
7   At  |  this  |  still  |  hour  |   7  the  |  self-col-  |   lected  | 

soul  7  | 
Turns  |  inward,  |  7   and   be-  |  holds   a  |  stranger  | 

there  7  | 
7  Of  |  high  de-  |  scent,  7  |  7  and  |  more  than  |  mortal  | 

rank  ;  |  7  7  | 
7  An  |  embryo  |  God  ;  7  |  7   a  |  spark  of  |  fire   di-  | 

vine,  7  | 
Which  must   |  burn  |  on  for  |  ages,   |  7  when    the  | 

sun  7  | 

(Fair  |  transitory  |  creature  of  a  |  day  ?)  7  | 
7  Has  |  closed  his  |  wonted  |  journey  |  tlirough  the  | 

east.  |  7  7  |  7  7  | 

Ye  |  citadels  of  |  light,  7  |  7  and  |  seats  of  |  bliss!  7  | 
7  Per-  |  haps  my  |  future  |  home,  7  |  7  from  |  whence  |  7 

the  |  soul,  7  | 


EXERCISES.  297 

Re-  |  volving   |  periods  |  past,  |  7  may  |   oft  |  look  | 

back,  7  | 

With  |  recol-  |  lected  |  tenderness,  |  7  on  |  all  | 
The  |  various  |  busy  |  scenes  she  |  left  be-  |  low,  7  | 
7  Its  |  deep-laid  |   projects,   |    7  and  its   |    strange  e-  | 

vents,  7  | 

As  on  some  |  fond  and  |  doting  |  tale    |  7  that  sooth'd  | 
7  Her  |  infant  |  hours.  7  |  7  7  |  O  |  be  it  |  lawful  |  now  7| 
7  To  |  tread  the  |  hallow'd  |  circle  1 7  of  your  |  courts,  7  | 
And  |  7  (with  |  mute  |    wonder  |   and   de-  |  lighted  | 

awe,)  7  I 
7  Ap-  |  proach  your  |  burning  |  confines  !  |  Seized  in  | 

thought,  | 

7  On  |    fancy's  |  wild  and  |  roving  |  wing  I  |  sail,  7  | 
7  From  the  |  green  |  borders  |   7   of  the    |   peopled  | 

earth,  7  | 
7  And  the  |  pale  |  moon  7  |  7  her  |  duteous  |  fair  at-  | 

tendant;  |  7  7  | 

7  From  |  solitary  |  Mars ;  |  7  from  the  |  vast  |  orb  | 
7  Of  |  Jupiter,  |  whose  |  huge  gi-  |  gantic  |  bulk  7  | 
Dances  in  |  ether  |  like  tlie  |  lightest  |  leaf;  7  |  7  7  | 
7  To  the  |  dim  |    verge,    |  7  the  |  suburbs  of  the  |  sys- 
tem, | 
7  Where    |   cheerless    |    Saturn,   |  midst  his  |  watery  | 

moons,  7  | 

Girt  with  a  |  lurid  |  zone,  7  |  7  in  |  gloomy  |  pomp,  7  | 
Sits  like  an  |  exiled  |  monarch.  |  7  7 1  Fearless  |  thence  7  | 
7  I  |  launch  |  into  the  |  trackless  |  deeps  of  |  space,  7  | 
Where  7  |  burning  |  round,  7  |  ten  |  thousand  |  suns  | 

7  ap-  |  pear  7  \ 

7  Of  |  elder  !  beam  |  7  which  |  ask*|  no  |  leave  to  |  shine.  | 
7  Of  |  our  ter-  |  restrial  |  star  7  |  7  7  |  nor  i  borrow  |  light  | 


298  GRAMMAR    OF    ELOCUTION. 

7  From  the  |  proud  |  regent  |    7   of  |  our    |    scanty  | 

day  :  7  |  7  7  | 

7  7 1  Sons  of  the  [  morning,  |  first  born  |  7  of  ere- 1  ation,  | 
7  And  |  only  |  less  than  |  He  who  |  marks  their  |  track,  7  | 
7  And  |  guides  their  |  fiery  |  wheels.  |  7  7  |  Here  |  must 

I  |  stop,  7  | 
Or  is  there  |  ought  be-  |  yond  ?  7  |  7  What  |  hand  un-  | 

seen  7  | 
7  Im-  |  pels  me  |  onward,  |  7  through  the  |  glowing  | 

orbs  7  | 

7  Of  |  habitable  |  nature  |  7  7  |  far  re-  |  mote,  7  | 
7  To  the  |  dread  |  confines  |  7  of  e-  |  ternal  |  night,  7  | 
7  To  |  solitudes  |  7  of  |  vast  un-  |  peopled  |  space,  7  | 
7  The  |  deserts  of  ere-  |  ation,  |  wide  |  7  and  |  wild,  7  | 
7  Where  |  embryo  j   systems  |    7  and  un-  |    kindled    | 

suns  7  | 

Sleep  in  the  |  womb  of  |  chaos  ?  |  7  7  |  Fancy  |  droops,  | 
7  And  |  Thought  |  7  as-  |  tonished  |  stops  her  |  bold 

ca-  |  reer.  7  |  7  7  | 

7  But  |  oh  thou  |  mighty  |  Mind  !  |  7  7  |  7  whose  |  pow- 
erful |  word  7  | 
Said  7  |  Thus  let  |  all  things  |  be  |  7  and  |  thus  they  | 

were,  |  7  7  | 
Where  shall  I  |  seek  thy  |  presence  ?  |  7  7  |  how  un- 

|  blamed 

7  In-  |  voke  thy  |  dread  per-  |  fection.  |  7  7  |  7  7  | 
Have  die  broad   |    eyelids  of  the    |    morn  be-  |   held 

thee  ?  |  7  7  | 

Or  does  the  |  beamy  |  shoulder  of  O-  |  rion  | 
7  Sup-  |  port  thy  |  throne  ?  |  7  7  |   O  |  look  with  |  pity 

|  down  7  | 
7  On  |  erring  |  guilty  |  Man  !  7  |  not  in  thy  |  names  7  | 


EXERCISES.  299 

7  Of  I  terror  |  clad  ;   7    |    not  with  those   |  thunders  | 

arm'd  7  | 
7  That  |  conscious  |  Sinai  |  felt  when  |  fear  ap-  | 

palTd  7  | 
7  The  |  scatter'd  |  tribes  :  7  |  thou  hast  a  |  gender  | 

voice,  7  | 
7  That  |  whispers  |  comfort  |  7  to  the  |  swelling  |  heart,  7  | 

7  A-  |  bash'd  7  |  7  yet  |  longing  to  be-  |  hold  her  |   Ma- 
ker. |  7'  7  |  7  7  | 

7  But  |  now  |  7   my  |  soul  7  |  un-  |  used  'to  |  stretch 

her  |  powers  7  | 

7  In  |  flight  so  |  daring  |  drops  her  |  weary  |  wing,  7  | 
7  And  |  seeks  a-  |  gain  the  |  known  ac-  |  custom' d  | 

spot,  7  | 
Dpest  up  with  |  sun  and  |  shade  7  |  7  and  |  lawns,  and  | 

streams ;  7  | 

7  A  |  mansion  |  fair  and  |  spacious  |  7  for  its  |  guest  7  | 
7  And  |  full  re-  |  plete  with  |  wonders.  |  7  7  |  7  7  |  Let 

me  |  here  | 
7  Con-  |  tent  and   |   grateful  f  wait  the  ap-  |  pointed  | 

time  | 

7  And  |  ripen  for  the  |  skies  7  |  7  the  |  hour  will  |  come  | 
7  When  |  all  these  |  splendors,     |  bursting  |  on  my  j 

sight  7  | 
7  Shah*    |  stand  un-   |  veil'd,  |  and  to  my  |  ravish' d  | 

sense  7  | 
7  Un-  |  lock  the  |  glories  |  of  the  |  world  un-  |  known.  7 

|77i77| 


300  GRAMMAR  OF  ELOCUTION. 


SPEECH    OF    MR.    PLUNKET, 

On  the  competency  of  the  Irish  Parliament  to  pass  the 
Measure  of  Union. 

Sir,  7  |   I   in  the  |  most  ex-  |  press  7  |  terms  7  |  7  de- 
|  ny  the  |  competency  |  7  of  |  parliament  |  7  to  |  do  this  | 
act.  7  |  7  7  |  7  7  |  7  I  |  warn  you  |  7  7  |  do  not  |  dare  | 
7  to  |  lay  your  |  hand  |  7  on  the   |  consti-  |  tution.  |  7  7  | 
7  7  |  7  I  |  tell  you,  |  7  that  |  if  7  |  circumstanced  as  you 
|  are  7  |  7  you  |  pass  this  |  act,  7  |  it  will  be  a  J  nullity,  |  7 
and  that  |  no  |  man  in  |  Ireland  |  7  will  be  |  bound  to  o-  | 
bey  it.  |  7  7  |  7  7  |  7  I  |  make  the  as-  |  sertion  |  7  de-  | 
liberately,  |  7  7  |  7  I  re- 1  peat  it,  |  7  and  |  call  on  |  any  | 
man  who  |  hears  me,  |  7  to  |  take  |  down  my  |  words ;  7  | 
7  7  |  7  you  |  have  not  been  e-  |  lected  for  |  this  7  |  pur- 
pose, |  7  7  |  you  are  ap-  |  pointed  |  7  to  |  make  |  laws,  7 
|  not  7  |  legis-  |  latures ;  [  7  7  |  you  are  ap-  |  pointed  to 
j  exercise  |  7  the  |  functions  of  |  legis-  |  lators,  |  7  and  | 
not  to  trans-  |  fer  them ;  |  7  7  |  7  and  |  if  you  |  do  so  |  7 
your  |  act  7  |  7  is  a  |  disso-  |  lution  |  7  of  the  |  govern-  | 
inent ;  |  7  7  |  you  re-  |  solve  so-  |  ciety  |  into  its  o-  |  rigi- 
nal  |  elements,  |  7  and    |    no  man  j  7  in  the  |  land  |  7  is 
|  bound  to  o-  |  bey  you.  |  7  7  |  7  7  |  Sir,  7  |  7  I  |  state 
|  doctrines  |  which  are  |  not  7  |  merely  |  founded  |  7  in 
the  im-  |  mutable  |  laws  |  7  of  |  justice  and  of  |  truth;  | 
7  7  |  7  1 1  state  |  not  7  |  merely  the  o-  |  pinions  |7  of  the 
|  ablest  |  men  |  7  who  have  |  written  on  the  |  science  of  | 
govern-  |  ment ;  7  |  7  7  |  but  1  |  state  the  |  practice  |  7  of 
our    consli-    tution    7  as    settled    at  the     a?ra  of  the 


EXERCISES.  301 

revo-  |  lution,  |  7  but  I   ]  state  the  |  doctrine  |  under  | 
which  7  |  7  the  |  house  of  |  Hanover  |  7  de-  |  rives  its  | 
title  |  7  to  the  |  throne.  |  7  7  |  7  7  |  Has  the  |  king  7  |  7  a  j 
right  to  trans-  |  fer  his  |  crown  ?  |  7  7  |  Is  he  |  competent 
|  7  to  an-  |  nex  it  to  the  |  crown  of  |  Spain,  |  7  or  of  |  any 
|  other  |  country  ?  |  7  7  |  No,  |  7  7  |  but  he  may  |  abdi- 
cate it ;  |  7  and  |  every  |  man   7  |  7  who  |  knows  the  | 
consti-  |  tution,  |  knows  the  |  conse-  |  quence,  |  7  7  |  7 
the  |  right  re-  |  verts  to  the  |  next  in  sue-  |  cession  ;  |  7  7  | 
If  they  |  all  |  abdicate,  |  7  it  re-  |  verts  to  the  |  people.  | 
7  7  |  7  7  |  7  The  |  man  who  |  questions  |  this  7  |  doc- 
trine, |  7  in  the  |  same  |  breath,  |  7  7  |  must  ar-  |  raign 
the  |  sovereign  on  the  |  throne  |  7  as  a  u-  |  surper.  |  7  7 
|  7  7  |  Are  you  |  competent  |  7  to  trans-  |  fer  your  |  le- 
gislative  |    rights  7   |    7  to  the  |   French  |  council  of  | 
five  |  hundred  ?  |  7  7  |  Are  you  |  competent  |  7  to  trans- 
|  fer  them  to  the  |  British  |  parliament  ?  |  7  7  |  7  I  |  an- 
swer, |  No.  |  7  7  |  7  7  |  When  you  trans-  |  fer   7  |  7 
you  |  abdicate,  |  7  and  the  |  great  |  7  o-  |  riginal  |  trust 
7  |  7  re-  |  verts  to  the  |  people  |  7  from  |  whom  it  |  is- 
sued. |  7    7  |  7  Your-  |  selves  |  7  you  |  may  ex-  |  tin- 
guish,  |  7  7  |  7  but  |  parliament  |  7  you  |  cannot  ex-  | 
tinguish  ;  |  7  7  |  it  is  en-  |  throned  in  the  |  hearts  of  the 
|  people  ;  |  7  7  |  it  is  en-  |  shrined  |  7  in  the  |  sanctuary 
|  7  of  the  |  consti-  |  tution ;  |  7  7  |  it  is  im  |  mortal  |  7 
as  the  |  island  |  7  which  it  pro-  |  tects ;  |  7  7)7  as  | 
well  |  7  might  the  |  frantic  |  suicide  |  7   7  |  hope   that 
the  |  act  7  |  7  which  de-  |  stroys  his  |  miserable  |  body, 
|  7  7  |  should  ex-  |  tinguish  |  7   his  e-  |  ternal  |  soul.  | 
7  7  |  7  7  |  7  A-  |  gain  I  |  therefore  |  warn  you,  |  7  7  | 
do  not  |  dare  to  |  lay  your  |  hands  |  7  on  the  |  consti-  | 
tution ;  |  7  7  |  it  is  a-  |  bove  your  |  power.  |  7  7  |  7  7  j 
26 


302  GRAMMAR    OF    ELOCUTION. 

Sir,  7  I  7  I  I  do  not  |  say  7  |  that  the  |  parliament    and 
the  |  people  |  7  by  |  mutual  con-  |  sent  and  |  co-ope-  |  ra- 
tion, !  7  7  |  may  not  |  change  the  |  form  of  the  |  consti-  | 
tution.  |  7  7  |  7  7  |  7  When-  j  ever  |  such  a  |  case  a-  |  ri- 
ses, |  7  7  |  7  it  |  must  be  de-  |  cided  |  on  its  |  own  |  mer- 
its :  |  7  7  |  7  but  |  that  is  not  |  this  |  case.  |  7  7  |  7  7  j  7  If  , 
government  |   7  con-  |  siders  |  this  a  |  season  |  7  pe- 
culiarly |  fitted  |  7  for  ex-  |  periments  |  7  on  the  |  consti-  | 
tution,  |  7  7  |  they  may  |  call  on  the  |  people.  |  77  |  7  7  | 
7  I  |  ask  you,  |  7  7  |  are  you  |  ready  to  |  do  so  ?  |  7  7  | 
Are  you  |  ready  to  a-  |  bide  the  e-  |  vent  of  |  such  an  ap- 
|  peal?  7  |  7  7|7  7  |  What  7  |  is  it  |  you  must  |  7  in  |  that 
e-  |  vent,  7  |  7  sub-  |  mit  to  the  !  people  ?  |  7  7  |  Not  7  | 
this  par-  |  ticular  |   project,  |  7  7  |  for  if  you  dis-  |  solve 
the  |  present  I  form  of  |  government,  |  7  7  |  they  be-  | 
come  7  |  free  to  |  choose  |  anf  \  other ;  |  7  7  |  7  you  | 
fling  tlicm  to  the  |  fury  of  the  |  tempest,  |  7  7  |  you  must  \ 
call  on  them  |  7  to  un-  !  house  them-  |  selves  |  7  of  the 
es-  |  tablished  |  consti-  |  tution,  |  7  and  to  |  fashion  to 
them-  I  selves  7  |  7  an-  |  other.  |  7  7  |  7  7  |  7  I  |  ask  a-  | 
gain,  |  7  is  |  this  the  |  time  |  7  for  an  ex-  |  periment  |  7 
of  |  that  7  |  nature?  |  7  7  |  7  Thank  |  God  7  |  7  the  |  people 
have  |  mani-  |  fested  |  no  such  |  wish ;  |  7  7  so  |  far  as  |  they 
have  |  spoken,  |  7  7 1  their  7  |  voice  is  de-  |  cidedly  a-  |  gainst 
|  7  this  |  daring    inno-  |  vation.  |  7  7  |  7  7  |  7  You  |  know  |  7 
that  |  no  |  voice  |  7  has  been  I  uttered  in  its  |  favor,  |  7  7 
|  and  you  |  cannot  be  in-  j  fatuated  e-  |  nough  j  7  to    take 
7  |  confidence  |  7  from  the  |  silence  |  7  which  pre-  |  vails 
in  |  some  7  |  parts  of  the  |  kingdom,  |  7  7  |  7  if  you  | 
know  1  how  to  ap-  |  preciate  |  7  that  |  silence,    7  it  is  | 
more  |  formidable  |  than  the  |  most  |  clamorous  ]  oppo-  I 
sition;  |  7  7  |  you  may  be  |  rived  and  |  shivered  by  the  | 


EXERCISES.  303 

lightning  j  7  be-  |  fore  you  |  hear  the  |  peal  of  the  |  thun- 
der! |  7  7  |  7  7  |  ButSir,|  7  we  are  |  told  7  |  7  7  |  that 
we  should  dis-  |  cuss  this  |  question  |  7  witli  |  calmness  |  7 
and  com-  |  posure !  |  7  7  |  I  am  |  called  on  |  7  to  sur-  | 
render  my  |  birth-right  |7  and  my|  honor,  |7  7  |  and  I  am  | 
told  |  I  should  be  |  calm,  |  7  com-  |  posed !  |  7  7  |  7  7  | 
National  |  pride  !  |  7  7  |  Inde-  |  pendence  of  our  |  coun- 
try !  |  7  7  |  These,  7  |  7  we  are  |  told  |  7  by  the  |  minis- 
ter, |  7  are  |  only  |  vulgar  |  topics  |  7  7  |  fitted  |  for  the 
me-  |  ridian  |  7  of  the  j  mob,  |  7  but  un-  |  wortliy  |  7  to 
be  |  mentioned  |  7  to  |  such  an  en-  j  lightened  as-  |  sem- 
bly  |  7  as  |  this.  7  |  7  7  |  They  are  |  trinkets  and  | 
gewgaws,|  fit  to  |  catch  the  |  fancy  of  |  childish  |  7  and  un- 
|  thinking  |  people  |  7  like  |  you,  Sir,  I  7  or  |  like  your  [ 
predecessor  |  7  in  |  that  |  chair,  |  7  7  |  7  but  |  ut- 
terly un-  |  worthy  |  7  the  con-  |  side-  |  ration  |  7  of  | 
this  |  house,  |  7  7  |  or  of  the  ma-  |  tured  |  under-  | 
standing  |  7  of  the  |  noble  |  lord  7  |  7  who  |  conde-  | 
scends  |  7  to  in-  |  struct  it!  |  7  7  |  7  7  |  Gracious  | 
God !  7  |  7  7  |  7  we  |  see  a  |  Perry  |  re-as-  |  cending 
from  the  |  tomb  |  7  and  |  raising  his  |  awful  |  voice  7  | 
7  to  |  warn  us  |  7  a-  |  gainst  the  sur-  |  render  of  our  j 
freedom,  |  7  and  we  |  see  that  the  |  proud  and  | 
virtuous  |  feelings  |  7  which  |  warmed  the  |  breast  of 
that  |  aged  |  7  and  |  venerable  |  man,  |  7  are  |  only  | 
calculated  |  7  to  ex-  |  cite  the  con-  |  tempt  |  7  of  this  | 
young  phi-  |  losopher,  |  7  7  |  who  has  been  trans- 
planted |  7  from  the  |  nursery  |  7  to  the  |  cabinet  |  7  to 
|  outrage  the  |  feelings  |  7  and  j  under-  |  standing  |  7  of 
the  |  country.  |  7  7  |  7  7  | 


304  GRAMMAR  OF  ELOCUTION. 

EXECUTION  OF  THE  EARL  OF  ARGYLE. 

Fox's  History  of  James  II. 

7  On  the  |  thirtieth  of  |  June,  |  7  one  |  thousand  |  7 
six  |  hundred  |  7  and  |  eighty  |  five,  |  7  the  |  Earl  of 
Ar-  |  gyle  |  7  was  |  brought  from  the  |  castle,  |  7  7  | 
first,  |  7  to  the  |  Laigh  |  council  house,  |  7  and  |  thence, 
|  7  to  the  |  place  of  exe-  |  cution.  |  7  7  |  7  7  |  Be-  | 
fore  he  |  left  the  |  castle,  |  7  he  |  had  his  |  dinner  j  7  at 
the  |  usual  |  hour,  |  7  at  |  which  lie  dis-  |  coursed,  |  7  7 
|  not  only  |  calmly,  |  7  but  |  even  |  cheerfully,  |  7 
|  with  |  Mr.  |  Chateris  |  7 and  |  others.  |  7  7  |  77  |  Af- 
ter |  dinner  |  7  he  re-  |  tired,  |  7  7  |  (as  was  his  |  cus- 
tom,) |  7  to  his  |  bed-chamber,  1 7  7  |  where  |  7  it  is  re-  j 
corded,  |  7  he  |  slept  |  quietly  |  7  for  a-  |  bout  a  |  quar- 
ter of  an  |  hour.  |  7  7  |  7  7  |  While  he  was  in  |  bed,  | 
one  of  the  |  members  of  the  |  council  |  came,  |  7  and  | 
intimated  |  7  to  the  at-  |  tend  ants,  |  7  a  de-  |  sire  to  | 
speak  with  him  :  |  7  7  |  7  upon  |  being  |  told  |  7  that 
the  |  Earl  |  7  was  a-  |  -sleep,  |  7  and  had  |  left  |  orders 
|  not  to  be  dis-  |  turbed,  |  7  the  |  manager  |  disbe-  |  lie- 
ved  the  ac-  |  count,  |  7  7  |  which  he  con-  |  sidered  |  7 
as  a  de-  |  vice  |  7  to  a-  |  void  |  further  |  question- 
ings. |  7  7  |  7  7  | 

7  To  |  satisfy  him,  |  7  the  |  door  of  the  |  bed-cham- 
ber, |  7  was  |  half  |  opened,  |  and  |  then  he  be-  |  held, 
|  7  en-  |  joying  a  |  sweet  and  |  tranquil  |  slumber,  |  7  the 
|  man,  |  7  7  I  7  who  |  7  by  the  |  doom  of  |  him  and  his 
|  fellows,  |  7  was  to  |  die  |  7  7  |  7  with-  |  in  the  |  short 
|  space  |  7  of  |  two  |  hours.  |  7  7  |  7  7  |  Struck  with 


EXERCISES.  305 

the  sight,  |  7  he  |  hurried  |  7  out  of  the  |  room,  |  7  7  | 
quitted  the  |  castle  |  7  with  the  |  utmost  pre-  |  cipi-  |  ta- 
tion,  |  7  7  |  7  and  |   hid  himself  |  7  in  the   |  lodgings  of 
an  ac-  |   quaintance    |  7  who    |    lived   |  near,    |  7  7  |  7 
where  he  |  tlirew  himself  |  7  upon  the  |  first  |  bed  that 
pre-  |  sented  itself  |  7  7  |  and  had  |  every  ap-  |  pearance 
of  a  I  man  |  suffering  |  7  the  |  most  ex-  |  cruciating  |  tor- 
ture. |  7  7  |  7  7  |  7  His  |  friend  |  7  7  |  7  who  was  ap-  | 
prised  of  the  |  state  he  was  I  in,  |  7  and  who  |  naturally 
con-  |   eluded  he  was  |  ill,  |  7  7  |  offered  him  |  7  some  | 
wine  |  7  7  |  7  7  |  7  He  re-  |  fused,  |  saying,  |  "  no,  |  no, 
|  that  |  will  not  |  help  me.  |  77  |  7  I  have  |  been  at  Ar-  | 
gyle's,  |  7  and  |  saw  him  |  sleeping  |  7  as    pleasantly  as  | 
ever  |  man  |  did  |  7  with-  |  in  |  one  |  hour  |  7  of  E-  | 
ternity,  |  7    7  |  7  but  |  as  for  |  me."  |  7  7  |  7  7  |  7  The 
|  name  of  the  |  person  |  7  to  |  whom  |  this  |  anecdote  re-  | 
lates  |  7  is  |  not  |  mentioned,  |  7  7   |  7  and  the  |  truth  of 
it  |  7  may  |  therefore  |  7  be  |  fairly  con-  |  sidered  |  7  as 
|  liable  |  7  to  |  that  de-  |  gree  of  |  doubt,  |  7  with  |  which 
|  men  of  |  judgment  |  7  re-  |  ceive  |  every  |  species  |  7  of 
tra-  |  ditional  |  history.  |  7  7  |  7  7  | 

Woodrow,  |  7  how-  |  ever,  |  7  7  |whose  ve-  |  racity  | 
7  is  a-  |  bove  sus-  |  picion,  |  7  7  |  says,  |  7  he  |  had  it  | 
7  from  the  |  most  un-  |  questionable  |  7  au-  |  thority.  | 
7  7  |  7  7  |  7  Itis|  not  in  it-  |  self  |  7  un-  |  likely  5  |  T  7  | 
7  and  |  who  is  there,  |  7  that  |  would  not  |  wish  it  true  ?  j 
7  7  |  7  7  |  What  a  |  satis-  factory  |  spectacle  |  7  to  a  | 
philo-  |  sophical  |  mind,  |  7  to  |  see  the  op-  |  pressor  |  7 
in  the  |  zenith  of  his  |  power  |  7  7  |  envying  his  |  victim  !  | 
77  |  7  7  |  What  an  ac-  |  knowledgement  |  of  the  |  supe- 
ri-  |  ority  of  |  virtue  I  |  7  7  |  7  7  |  What  an  af-  |  fecting  | 
7  and  |  forcible  |  testimony  |  7  of  the  |  value  of  that  | 
26* 


306  GRAMMAR    OF    ELOCUTION. 

peace  of  |  mind,  |  7  which  |  Innocence  |  7  a-  |  lone  |  7 
can  con-  |  fer!  |  7  7  |  7  7  j  7  We  |  know  not  |  who  |  7 
this  |  man  |  was,  |  7  7  |  7  but  |  when  we  re-  |  fleet  |  7 
that  the  |  guilt  |  7  which  |  agonized  him,  |  7  was  |  proba- 
bly |  7  in-  |  curred  |  7  for  some  |  vain  |  title,  |  7  or  at  | 
least  |  7  for  some  |  increase  of  |  wealth  |  7  which  he  j 
did  not  |  want,  |  7  and  |  possibly  |  knew  not  |  how  to 
en-  |  joy,  |  7  7  |  7  our  dis-  |  gust  |  7  is  |  turned  into  | 
something  |  like  com-  |  passion,  |  7  for  that  |  very  |  fool- 
ish |  class  of  |  men,  |  whom  the  |  world  |  calls  I  wise  in 
their  |  gene-  |  ration.  |  7  7  |  7  7  | 

Soon  |  after  this  |  short  re-  |  pose,  |  7  Ar-  |  gyle  |  7 
was  |  brought  |  7  ac-  |  cording  to  |  order,  |  7  to  the  | 
Laigh  |  council-house,  |  7  from  |  which  |  place  |  7  is  | 
dated  the  |  letter  to  h;s  |  wife,  |  7  7  |  7  and  from  |  thence 
|  7  to  the  |  place  of  exe-  |  cution.  |  7  7  |  7  7  |  7  On  the 
|  scaffold  |  7  he  had  |  some  dis-  |  course,  |  7  as  |  well 
with  |  Mr.  |  Annand,  |  7  a  |  minister  |  7  ap-  |  pointed 
by  |  Government  |  7  to  at-  |  tend  him,  |  7  7  |  as  with  , 
Mr.  |  Chateris.  |  7  7  |  7  7  |  He  de-  |  sired  |  both  of 
them  |  7  to  |  pray  for  him  |  7  and  |  prayed  him-  |  self  | 
7  with  |  much  |  fervor  |  7  and  de-  |  votion.  |  7  7  |  7  7  | 
7  The  |  speech  which  he  |  made  to  the  |  people  |  7  was 
|  such  as  |  might  be  ex-  |  pected  |  7  from  the  |  passages 
al-|  ready  re-  |  lated.  |  7  7  |  7  7  |  7  The  |  same  |  mixture 
of  |  firmness  |  7  and  |  mildness  |  7  is  con-  |  spicuous  in  | 
every  |  part  of  it.  7  7  |  7  7  |  7  "  We  |  ought  not,"  | 
7  said  |  he,  |  7  "  to  des-  |  pise  |  our  af-  |  flictions,  |  nor  to 
|  faint  |  under  them.  |  7  7  |  7  7  |  7  We  |  should  not  J  suf- 
fer ourselves  |  7  to  be  ex-  |  asperated  |  7  a-  |  gainst  the  | 
instruments  |  7  of  our  |  troubles,  |  nor  by  |  fraudulent  |  7 
or  |  pusil-  |  lanimous  com-  |  pliance,  |  7  7  |  bring  |  guilt  | 


upon  our-  |  selves ;  |  7  7  |  faint  |  hearts 
ally  |  false  |  hearts,  [choosing  |  sin,  |  rather  th? 
ing."  |  7  7  |  7  7  |  7  He  |  offers  his  |  prayers  |  7  for  the  | 
three  |  kingdoms  of  |  England,  Scotland,  7  and  |  Ire- 
land, |  7  7  i  and  that  an  |  end  |  7  may  be  |  put  |  7  to  their 
|  present  trials.  |  7  7  |  7  7  |  Having  |  then  |  asked  |  par- 
don i  7  for  his  I  own  |  faults,  |  both  of  |  God  and  |  man,  | 
7  he  |  would  have  con-  |  eluded,  j  7  but  |  being  re-  | 
minded  |  7  that  he  had  |  said  |  nothing  |  7  of  the  |  royal  | 
family,  |  7  he  adds,  |  7  that  he  re-  |  fers,  I  7  in  |  this  { 
matter,  |  7  to  |  what  he  had  |  said  |  7  at  his  |  trial  |  7  con- 
|  cerning  the  |  test ;  |  7  7  |  7  that  he  |  prayed  j  7  there  | 
never  might  be  |  wanting  |  one  of  the  |  royal  |  family  | 
7  to  sup-  |  port  the  |  Protestant  re-  |  ligion ;  |  7  7  |  7  and 
if  j  any  of  them  |  7  had  |  swerved  |  from  the  |  true  | 
faith,  ]  7  he  |  prayed  |  God  |  7  to  |  turn  their  |  hearts;  | 
7  7  |  7  but  at  |  any  rate  |  7  to  |  save  his  |  people  |  7  from 
their  !  machi-  |  nations.  |  7  7  |  7  7  | 

When  he  had  |  ended,  |  7  he  |  turned  to  the  |  south  ) 
side  of  the  |  scaffold  |  7  and  |  said,  |  7  7  |  "  Gentlemen, 
|  7  I  |  pray  you,  |  do  not  |  miscon-  |  struct  |  my  be-  | 
havior  |  this  |  day.  |  7  7  |  7  I  |  freely  for-  |  give  |  all 
men  |  their  |  wrongs  and  |  injuries  |  done  a-  |  gainst  | 
me,  |  7  as  |  I  de-  |  sire  |  to  be  for-  |  given  of  |  God."  | 
7  7  |  7  7  |  7  He  |  then  em-  |  braced  his  |  friends,  |  7  7 
|  gave  some  |  tokens  |  7  of  his  re-  |  membrance  |  7  to 
his  |  son-in-law,  |  Lord  |  Maitland,  |  7  for  his  !  daughter 
and  |  grand-children,  |  7  7  |  stript  himself  |  7  of  |  part 
of  his  ap-  |  parel,  |  7  of  |  which  he  |  likewise  |  made  | 
presents,  |  7  and  |  laid  his  |  head  |  upon  the  j  block.  | 
77|77| 

Having  |  uttered  a  |  short  |  prayer,  |  7  he  |  gave  the  | 


303  GRAMMAR    OF    ELOCUTION. 

signal  i  7  to  the  |  exe-  |  cutioner,  |  which  was  |  instant- 
ly o-  |  beyed,  |  7  and  his  |  head  |  severed  from  his  | 
body.  |  7  7  |  7  7  | 

Such  were  the  |  last  |  hours  |  7  and  |  such  the  |  final 
close  |  7  of  this  |  great  |  man's  |  life.  |  7  7  |  7  7  |  May 
the  |  like  |  happy  se-  |  renity.  |  7  in  such  (dreadful  | 
circumstances,  |  7  and  a  |  death  |  equally  |  glorious  |  7 
be  the  |  lot  of  |  all,  |  7  whom  |  tyranny  |  7  of  what-  | 
ever  des-  |  cription  |  7  or  de-  |  nomi-  |  nation,  |  shall 
|  7  in  |  any  |  age,  |  7  or  in  |  any  |  country,  |  7  7  |  call 
to  |  expiate  their  |  virtues  1 7  on  the  I  scaffold  !  |  7  7  |  7  7  | 


THOUGHTS  IN  A  PLACE  OF  WORSHIP. 

Hannah  More. 

7  And  |  here  we  |  come  and  |  sit,  7  |  time  after  |  time,  1  \ 
7   And    |  call  it   |  social    |    worship;   |    77    1   Is  it  | 

thus?7|77  | 
Oh  7  |  Thou  !  |  7  7  |  7  whose  |  searching  |  all  per-  | 

vading  |  eye  7  | 

Scans  every  |  secret  |  movement  of  the  |  heart,  7  | 
7  And  |  sees  us  |  as  we  |  are  7  |  7  7  |  why  7  |  mourns 

my  |  soul  7  | 

7  On  |  these  oc-  1  casions  ?  |  Why  so  |  dead  and  |  cold  7  j 
7  My  |  best  af-  |  fections  ?  1 1  have  |  found  thee  |  oft  7  | 
In  my  |  more  |  secret  |  seasons,  |  7  in  the  |  field,  ] 
And  in  my  |  chamber :  |  7  7  |  even  |  7  in  the  |  stir  7  | 
7  Of  |  outward  |  occu-  |  pations  |  7  has  my  |  mind  7  [ 

. 


EXERCISES.  309 

7  Been  |  drawn  to  |  thee,  |  7  and  |  found  thy  |  presence 

|  life  :  |  7  7  | 
7   But  !  here  |  7  I  |  seek  in  |  vain  |  7   and  |  rarely  | 

find  7  | 

7  Thy  |  ancient  |  promise  |  7  to  the  |  few  that  |  wait  7  | 
7  In  |  singleness  up-  |  on  thee,  |  7  7  |  reach  to  |  us.  | 

771771 


is  7  |  7  to  |  feel  the  |  unity  | 

menting  |  love  7  |  gathering  in  |  one  7 


Most  |  sweet  it 

7  Of  |  soul  ce- 

Flowing  from  |  heart  to  |  heart,  |  7  and  |  like  a  |  cloud  | 

7  Of  I  mingled  |  incense  |  7  7  |  rising  to  the    thone  | 

7  Of  |  Love  it-  |  self!  I  7  7  |  then  7  |  much  of  |  heaven 

is  |  felt  7  | 

7  By  |  minds  |  drawn  |  thither-  |  ward,  7  |  7  and  |  close- 
ly |  linked  | 

In  the  ce-  |  lestial  |  union,  |  7  7  |  'tis  in  |  this  | 
Sweet  |  element  a-  |  lone,  |  7  that  |  we  can  |  live  7  [ 
7  To  |  any  |  purpose,  |  7  or  ex-  |  pect  our  |  minds  | 
Clothed  with  |  that  7  |  covering  |  which  a-  |  lone  pre-  | 

pares  7  | 
7    For  |   social  |   worship.   |   7  7  |  7  7  |  Therefore  | 

mourns  my  |  soul  7  | 

7  In  |  secret,  |  7  and  like  |  one  a-  |  midst  the  |  vast  7  | 
7  And  |  widely  |  peopled  |  earth  |  7  7  |  7  would  |  seek 

to  |  hide  | 

7  My-  |  self  and  |  sorrows  |  7  from  the  |  motly  \  crowd  | 
7  Of  |  human  |  obser-  |  vation.  |  7  7  |  7  But   |   Oh    | 

Thou  | 

7  Whose  |  bowels  |  7  of  com-  |  passion  |  never  |  fail  7  f 
Towards  the  j  creatures  |  fashioned  by  thy  |  hand  7  | 
Re-  |  animate  the  |  dead  7  |  7  and  |  give  to  |  those  | 
7  Who  |  never  |  felt  thy  |  presence  |  in  their  |  souls  | 


310  GRAMMAR    OF    ELOCUTION. 

7  Nor  |  saw  thy  |  beauty,  |  both  to  |  see  and  |  feel  | 
7  That  |  thou   art  |  lovely,  |  7   and   thy  |  presence  | 

life:)  77  | 
7  Re-  |  store  the  |  wanderer,  |  7  and  sup-  |  port  the  | 

weak  7  | 
With  thy  sus-  |  taining  |  arm,  |  7  for  |   strength   is  | 

thine.  |  ?  7  |  7  7  | 
7  And  |  Oh !    |  7  pre-  |  serve  this  |  tempest  beaten  | 

bark  | 
7  From  |  sinking  in  the  \  wave,  |  7  whose  |  swelling  | 

surge  | 
Threatens   to   |  over-  |  whelm,  |  7    For-  |  sake   her  | 

not  7  | 
7  But  |  be  her  |  Pilot,  |  7  7  |  though  |  no  |  sun  nor  j 

star  7  | 

7  Ap-  |  pear  a-  I  mid  the  |  gloom ;  |  for  if  a  |  ray  | 
7  From  |  thy     |  all  |  cheering  |  presence,  |  7    7  |  light 

her  |  course  | 
7  She  |  rides  the  |  storm  se-  |  cure,  |  7  7  |  and  in  |  due  I 

time  7  | 
7  Will  '  reach  her  |  destined  |  port,  7  |  7  7  |  7  and  |  be 

at  j  peace.  |  7  7  |  7  7  | 


THE   DOG   AND    WATER    LILY. 

Cowper. 

7  The  |  moon  was  |  shady  |  7  and  |  soft  |  airs  7  | 

Swept  |  Ouse's  |  silent  |  tide,  7  | 
When  7  |  'scaped  from  |  literary  |  cares,  7  | 

7  I  I  wander'd  |  7  on  his  |  side.  |  77  |  7 7  | 


EXERCISES.  311 

7  My  |  spaniel,  |  prettiest  of  his  |  race,  7  | 

7  And  |  high  |  7  in  |  pedigree,  | 
(Two  |  nymphs  |  7  a-  |  domed  \vith  |  every  |  grace  7  | 

That  |  spaniel  |  found  for  |  me,)  7  | 

Now  |  wanton'd  |  lost  in  |  flags  |  7  and  |  reeds  7  | 

Now  |  starting  |  7  into  |  sight,  7  | 
7  Pur-  |  sued  the  |  swallow  o'er  the  |  meads  7  | 

7  With  |  scarce  a  |  slower  |  flight.  |  7  7  |  1  7  | 

It  was  the  |  time  when  |  Ouse  dis-  |  play'd  | 

7  His  |  lilies  |  newly  |  blo\\Ti ;  7  | 
7  Their  |  beauties  |  I  in-  |  tent  |  7  sur-  |  vey'd  7  | 

7  And  |  one  I  |  wish'd  my  |  own.  |  7  7  |  7  7  | 

7  With  |  cane  ex-  |  tended  |  far  7  |  7 1  |  sought  7  | 

7  To  |  steer  it  |  close  to  |  land ;  7  | 
7  But  |  still  the  |  prize  |  7  though  |  nearly  |  caught,  7 

7  Es-  |  caped  my  |  eager  |  hand.  |  7  7  |  7  7  | 

Beau  |  mark'd  |  7  my  |  unsuc-  |  cessful  |  pains  7  | 
7  With  |  fix'd  con-  |  siderate  |  face,  7  | 

7  And  |  puzzling  |  7  7  |  sat  his  |  puppy  |  brains  7  j 
7  To  |  compre-  |  hend  the  |  case.  |  7  7  |  7  7  | 

But  with  a  |  chirup  |  clear  and  |  strong,  | 

7  Dis-  |  persing  |  all  his  |  dream,  7  | 
7  I  |  thence  with-  |  drew  7  |  7  and  |  follow'd  |  long  7  | 

7  The  |  windings  |  7  of  the  |  stream.  |  7  7  |  7  7 

7  My  |  ramble  |  finish'd  |  I  re-  |  turn'd,  |  7  7  | 

Beau  7  |  (trotting  |  far  be-  |  fore)  7  | 
7  The  |  floating  |  wreath  |  7  a-  |  gain  dis-  |  cern'd  | 

7  And  |  plunging  |  left  the  |  shore.  |  7  7  |  7  7  | 


312  GRAMMAR    OF    ELOCUTION. 

7  I  |  saw  him  with  that  |  lily  |  cropped  7  | 

7  Im-  |  patient  |  swim  to  |  meet  7  | 
7  My  |  quick  ap-  |  proach  |  7  and  |  soon  he  |  dropped  7  • 

7  The  |  treasure  |  7  at  my  |  feet.  |  7  7  |  7  7  | 

Charm'd  with  the  |  sight,  |  7  the  |  world,  |  7 1  |  cried,  7  | 

7  Shall  |  hear  of  |  this  thy  |  deed :  7  | 
7  My  |  dog  shall  |  mortify  the  |  pride  7  | 

7  Of  |  man's  |  7  su-  |  perior  |  breed  :  |  7  7  | 

7  But  |  chief  |  7  my-  |  self  |  I  will  en-  |  join,  7  | 

7  A-  |  wake  at  |  duty's  |  call,  7  | 
7  To  |  show  a  |  love  |  7  as  |  prompt  as  |  thine  7  ] 

7  To  ,  Him  who  |  gives  me  |  all.  |  7  7  |  7  7  | 


THE  DELUGE. 
GENESIS,  CHAPTER  VII. 

And  the  |  Lord  7  |  said  unto  |  Noah,  |  7  7  |  Come  | 
thou,  |  7  and  |  all  thy  |  house  |  into  the  |  ark :  |  7  7  |  7 
for  |  thee  have  I  |  seen  |  righteous  be-  |  fore  me  |  7  in  | 
this  7  |  gene-  |  radon.  |  7  7  |  7  7  |  7  Of  I  every  |  clean 
|  beast  7  |  thou  shalt  |  take  to  thee  by  |  sevens,  |  7  the  | 
male  and  his  |  female  :  |  7  7  |  7  and  of  |  beasts  that  are  | 
not  7  |  clean  |  7  by  |  two,  7  |  7  the  |  male  and  his  |  fe- 
male. |  7  7  |  7  Of  |  fowls  |  also  |  7  of  die  |  air  |  7  by  | 
sevens,  |  7  the  |  male  and  the  |  female ;  |  7  to  |  keep  7  | 
seed  a-  |  live  |  upon  the  |  face  of  |  all  the  |  earth.  [  7  7  | 
77)7  For  |  yet  7  j  seven  |  days  7  |  and  I  will  |  cause  it  | 


EXERCISES.  313 

7  to  I  rain  upon  the  |  earth  |  forty  |  days  |  7  and  |  forty  | 
nights :  |  7  7  |  7  and  |  every  |  living  |  substance  |  7  that  I 
have  |  made,  7  |  will  I  de-  |  stroy  7  |  7  from  |  off  the  | 
face  of  the  |  earth.  |  77|77  | 

7  And  |  Noah  |  did  |  7  ac-  |  cording  unto  |  all  that 
the  |  Lord  com-  |  manded  him.  |  7  7  |  7  And  |  Noah 
was  |  six  |  hundred  |  years  |  old,  7  |  7  when  the  |  flood 
of  |  waters  |  was  upon  the  |  earth.  |  7  7  |  7  7  | 

7  And  |  Noah  |  went  7  |  in  7  |  7  and  his  |  sons,  |  7 
and  his  |  wife,  |  7  and  his  |  sons'  |  wives  |  with  him,  | 
into  the  |  ark,  |  7  be-  |  cause  of  the  |  waters  of  the  | 
flood".  |  7  7  |  7  7  |  7  Of  |  clean  |  beasts  |  7  and  of  | 
beasts  that  are  |  not  7  |  clean,  |  7  and  of  |  fowls,  |  7  and 
of  |  every  |  thing  that  |  creepeth  |  upon  the  |  earth,  |  7  7  | 
There  |  went  |  in  7  |  two  and  |  two  7  |  7  unto  |  Noah  | 
into  the  |  ark,  |  7  the  (  male  and  the  |  female  |  7  as  |  God 
had  com-  |  manded  |  Noah-  |  7  7  |  7  7  |  And  it  |  came 
to  |  pass  I  after  |  seven  |  days,  |  7  that  the  |  waters  of 
the  |  flood  |  were  upon  the  |  earth.  |  7  7  |  7  7  | 

7  In  the  |  six  |  hundredth  |  year  of  |  Noah's  |  life,  | 
7  in  the  |  second  |  month,  |  7  the  |  seventeenth  |  day 
of  the  |  month,  |  7  the  |  same  |  day,  |  7  were  |  all  the  | 
fountains  of  the  |  great  |  deep  |  broken  |  up,  7  |  7  and 
the  |  windows  of  |  heaven  |  7  were  |  opened.  |  7  7  | 
7  7  |  7  And  the  |  rain  |  was  upon  the  |  earth  |  forty  |  days 
|  7  and  |  forty  |  nights.  |  7  7  |  7  7  j 

7  In  the  |  self  7  |  same  |  day  |  entered  |  Noah,  |  7 
and  |  Shem,  |  7  and  |  Ham,  7  |  7  and  |  Japheth,  j  7 
the  |  sons  of  |  Noah ;  |  7  and  |  7  Noah's  |  wife,  |  7  and 
the  |  three  |  wives  of  his  |  sons  |  with  them,  |  into  the  | 
ark :  |  7  7  |  They,  7  |  7  and  |  every  |  beast  |  after  his  | 
kind,  |  7  and  |  all  the  |  cattle  |  after  |  their  |  kind,  |  7 
27 


314  GRAMMAR    OF    ELOCUTION. 

and  |  every  |  creeping  |  thing  that  |  creepeth  |  upon  the  | 
earth  7  |  after  |  his  |  kind,  |  7  and  |  every  |  fowl  |  after 
his  |  kind,  7  |  every  |  bird  of  |  every  |  sort.  7  |  7  7  |  7 
And  they  |  went  |  in  unto  |  Noah  |  into  the  1  ark,  |  7  7 
two  and  |  two  of  |  all  |  flesh,  |  7  where-  |  in  is  the 
breath  of  |  life.  |  7  7  |  7  7  |  7  And  |  they  that  |  went  7 
|  in,  7  |  went  in  |  male  and  |  female,  of  |  all  |  flesh,  7 
7  as  |  God  had  com-  |  manded  him.  |  7  7  |  And  the 
Lord  7  |  shut  him  |  in.  |  7  7  \  7  7  | 

7  And  the  |  flood  was  |  forty  |  days  |  upon  the 
earth  :  |  7  7  |  7  and  the  |  waters  in-  |  creased,  |  7  and 
bare  up  the  |  ark,  |  7  7  |  and  it  was  |  lift  |  up  a-  |  bove 
the  |  earth.  |  7  7  |  7  7  |  7  And  the  |  waters  pre-  |  vail- 
ed, 7  |  7  and  were  in-  |  creased  |  greatly  |  upon  the  | 
earth  :  |  7  7  |  7  and  tlie  |  ark  went  |  up  on  the  |  face  of 
the  |  waters.  |  7  7  |  7  7  |  7  And  the  |  waters  pre-  | 
vailed  ex-  |  ceedingly  |  7  upon  die  |  earth.  7  |  7  7  |  7 
And  |  all  the  |  high  |  liills  |  7  that  were  |  under  the  |  whole 
|  heavens,  |  7  were  |  covered.  |  7  7  |  7  7  \  Fif-  |  teen  | 
cubits  |  upward  |  did  the  |  waters  pre-  |  vail ;  |  7  and  tlie 
|  mountains  were  |  covered.  |  7  7  |  7  7  |  7  And  |  ah1  | 
flesh  |  died  |  7  that  |  moved  upon  the  |  earth,  7  |  both 
of  |  fowl,  7  |  7  and  of  |  cattle,  |  7  and  of  |  beast,  7  |  7 
and  of  |  every  |  creeping  |  thing  |  7  that  |  creepeth  |  up- 
on tlie  |  earth,  |  7  and  |  every  |  man.  |  7  7  |  7  7  |  All 
in  whose  |  nostrils  |  7  was  the  |  breath  of  |  life,  |  7  of  | 
all  |  that  was  in  the  |  dry  7  |  land,  |  died.  |  7  7  |  7  7  |  7 
'And  |  every  |  living  |  substance  |  was  de-  |  stroyed  7  | 
7  which  |  was  upon  the  |  face  of  the  |  ground,  7  |  7  7  ( 
both  7  |  man,  |  7  and  |  cattle,  |  7  and  tlie  |  creeping  | 
tilings,  7  |  7  and  the  |  fowl  of  the  |  heaven ;  |  7  7  | 
And  they  were  de-  |  stroyed  from  the  |  earth :  |  7  7  |  7 


EXERCISES. 


315 


and  |  Noah  |  only  |  7  re-  |  mained  a-  |  live,  |  7  and  | 
they  that  were  |  with  him  |  7  in  the  |  ark.  7  |  7  7  |  7  7  | 
7  And  the  |  waters  pre-  |  vailed  upon  the  |  earth  |  7  an  | 
hundred  and  |  fifty  |  days.  |  7  7  |  7  7  | 


HOHENLINDEN. 

Campbell. 

7  On  |  Linden  |  7  7  |  when  the  j  sun  was  |  low,  | 
7  All  |  bloodless  |  7  7  |  lay  the  un-  |  trodden  |  snow,  | 
7  7  |  7  And  |  dark  as  |  winter  |  7  was  the  |  flow  | 
7  Of  |  Iser  |  rolling  |  rapidly.  |  7  7  |  7  7  | 

7  But  |  Linden  |  7  7  |  saw  an-  |  other  |  sight  | 
When  the  |  drum  |  beat  |  7  at  |  dead  of  |  night  | 
7  Com-  |  manding  |  fires  of  |  death,  |  7  to  |  light  | 
7  The  |  darkness  |  7  of  her  |  scenery.  |  7  7  |  7  7  | 

7  By  |  torch  and  |  trumpet  |  7  7  |  fast  ar-  |  ray'd  | 
Each  |  horseman  |  drew  his  |  battle  |  blade,  |  7  7  | 
7  And  |  furious  |  7  7  |  every  |  charger  |  neighed  | 
7  To  |  join  the  |  dreadful  |  revelry.  |  7  7  |  7  7  | 

Then  |  shook  tlie  |  hills  |  7  with  |  thunder  |  riven,  j 
Then  j  rush'd  the  |  steed,  |  7  to  |  battle  |  driven,  | 
7  7  |  And  |  louder  than  the  |  bolts  of  |  heaven,  |  7  7  | 
Far,  |  flash'd  |  7  the  |  red  |  7  ar-  |  tillery.  |  7  7  |  7  7  | 

7  And  |  redder  |  yet  |  7  those  |  fires  shall  |  glow,  | 
7  On  |  Linden's  |  hills  of  |  blood-stain'd  |  snow ;  |  7  7  | 


316  GRAMMAR    OF    ELOCUTION. 

7  And  |  darker  |  yet  |  7  shall  |  be  the  |  flow,  | 
7  Of  |  Iser  |  rolling  |  rapidly.  |  7  7  |  7  7  | 

7  'Tis  |  morn ;  |  7  7  |  7  but  |  scarce  |  yon  |  lurid  |  sun  j 
7  Can  |  pierce  the  |  war-clouds  |  rolling  |  dun ;  |  7  7  | 
7  Where  |  furious  |  Frank  |  7  and  |  fiery  |  Hun  | 
7  7  |  Shout  in  their  |  sulphurous  |  canopy.  |  7  7  |  7  7  | 

7  The  |  combat  |  deepens.  |  7  7  |  7  7  |  On  |  7  ye  |  brave  | 
7  Who  |  rush  to  |  glory  |  7  7  |7  or  the  | grave, |  77  |  7  7  | 
Wave,  |  7  7  |  Munich,  |  7  7  |  all  thy  |  banners  |  wave ; 

I   77| 
7   And  |    charge   |  7  with  |  all  |   7  thy  |  chivalry.  | 

7   7|77 | 

Few,  |  fe\v  shall  |  part  |  where  |  many  |  meet,  |  7  7  |  7  7  | 
7  The  |  snow  |  7  shall  be  their  |  winding  |  sheet ;  I  7  7  | 
7  And  |  every  |  turf  |  7  be-  |  neath  their  |  feet  [ 
7  Shall  |  be  a  |  soldier's  |  sepulchre.  |  7  7  |  7  7 1 


ADDRESS  OF  HENRY  V.  TO  HIS  TROOPS  BEFORE  THE 
GATES  OF  HARFLEUR. 

ShaJcspeare. 

Once  |  more  |  unto  the  |  breach  |  dear  |  friends,  |  7  7  | 

once  |  more ;  |  7  7  | 
7   Or  |  close  the  |  wall    up  |  7    with    our  |  English  | 

dead.  |  7  7  | 
7  In  |  peace  |  7  7  |  7  there's  |  nothing  |  so  be-  |  comes 

a    man 


EXERCISES.  317 

7  As  |  modest  |  stillness  |  7  and  hu-  |  mility.  |  7  7  | 
But  when  the  |  blast  of  |  war  |  7    7  |  blows   in  our  | 

ears,  | 

Then  |  imitate  the  |  action  of  the  |  tiger :  | 
Stiffen  the  |  sinews,  |  7  7  |  summon  |  up  the  |  blood,  | 
7  Dis-  |  guise  |  fair  |  nature  |  7  with  |  hard  |  favored  | 

rage  :  |  7  7  | 

Then  |  lend  the  |  eye  |  7  a  |  terrible  |  aspect;  | 
7  7  |  Let  it  |  pry  |  7  through  the  |  portage  of  the  |  head,  | 
Like    the   |   brass   |    cannon  ;  |  let  the   |   brow  o'er  | 

whelm  it,  | 

7  As  |  fearfully  |  as  doth  a  |  galled  |  rock  |  7  7  | 
7  O'er-  |  hang  and  |  jutty  |  7  his  con-    founded  |  base  | 
7  7  |  Swilled  with  the  |  wild  |  7  and  |  wasteful  |  ocean.  | 

7  7|  77  | 
Now  |  set  the  |  teeth,  |  7  and  |  stretch  |  7  the  |  nostril  | 

wide,  | 
Hold  |  hard  the  |  breath,  |  7  and  |  bend  |  up  |  every  | 

spirit  | 
7  To  his  |  full  |  height !  |  7  7  |  On,  7  |  on,  7  |  you  |  noble 

I  English,  |  7  7  | 

7  Whose  |  blood  is  |  fet  from  |  fathers  of  i  war  |  proof!  | 
Fathers  |  7  7  |  7  that  |  like  |  so  many  |  Alexanders,  | 
Have  in  these  |   parts,  |  7  from  |  morn  till  |  even  | 

fought  | 

7  And  |  sheathed  their  |  swords  |  7  for  |  lack  of  |   argu- 
ment. |  7  7  |  7  7  | 

7  Dis-  |  honor  not  your  |  mothers.  |  7  7  |  Now  at-  |  test  | 
7  That  |  those  whom  you  |  calPd  |  Fathers  |  did  be-  | 

get  you!  | 

7  Be  |  copy  |  now  |  7  to  |  men  of  |  grosser  |  blood,  |  7  7  | 
7  And  |  teach  them  |  howto  |  war  !  |  7  7  |  7  7 1 
27* 


318  GRAMMAR    OF    ELOCUTION. 

7  And  I  you,  |  good  |  yeomen,  | 
7  Whose   |  limbs  were  |  made  in  |  England,  |  show  us  | 

here  | 

7  The  |  mettle  of  your  |  pasture  ;  |  7  7  |  let  us  |  swear  | 
7  That  you  are  |  worth  your  |  breeding  :  |  7  7  |  which  I  | 

douk  not.  | 

7  7  |  For  there  is  |  none  of  you  |  so  |  mean  and  |  base  | 
7  That  |  hath  not  |  noble  |  lustre   |  7  in  your  |  eyes.  | 

77|  77 | 
71  |  see  you  |  stand,  |  like  |  grey  hounds  |  7  in  the  | 

slips,  |  7  7  | 
Straining  |  upon  the  |  start.  |  7  7  | 

7  The  |  game's  a  |  foot,  |  7  7  | 
Follow  your  |  spirit :  |  7  7  |  and  upon  |  this  |  charge,  | 
Cry  |  God  for  |  Harry  !  |  7  7  |  England !  |  7  and  |  Saint 
|George!|77|77| 


LUCY. 

Wordsworth. 

Three  |  years  |  7  she  |  grew,  |  7  in  |  sun  and  |  show- 
er, |  7  7  |  ^ 
Then  |  nature  |  said,  |  7  "  a  |  loveh'er  |  flower  | 

7  On  |  earth  |  7  was  |  never  |  sown ;  |  7  7  | 
This  |  child  |  I  to  my-  |  self  |  7  will  |  take, ;  | 
7  7  |  She  shall  be  |  mine,  |  7  7  |  and  I  will  |  make  | 

7  A  |  lady  |  of  my  |  own.  |  7  7  |  7  7  | 


EXERCISES.  319 

"  7  My-  |  self  |  will  to  my  |  darling  |  7  7  |  be,  | 

7  Both  |  law  and  |  impulse :  |  7  7  |  7  and  with  |  me  | 

7  The  |  girl  |  7  in  j  rock  |  7  and  |  plain,  | 
7  In  |  earth  and  j  heaven,  |  7  in  |  glade  and  |  bower,  | 
7  Shall  |  feel  |  7  an  |  over-  |  seeing  |  power  | 

7  To  |  kindle  |  7  and  re-  |  strain.  |  7  7  |  7  7  | 

"  She  shall  be  |  sportive  |  7  as  the  |  fawn  | 

7  That  |  wild  with  |  glee  |  7  a-  |  cross  the  |  lawn  | 

7  Or  |  up  the  |  mountain  |  7  7  |  springs ;  |  7  7  | 
7  And  |  hers  [  7  shall  |  be  the  |  breathing  |  balm,  | 
7  And  j  hers  j  7  the  |  silence  |  7  and  the  |  calm  | 

7  Of  |  mute  in-  |  sensate  |  things.  |  7  7  |  7  7  | 

"  7  The  |  floating  |  clouds  |  7  their  |  state  shall  |  lend  | 
7  To  |  her ;  |  7  7  j  7  for  |  her  |  7  the  |  willow|bend;  | 

7  7  |  Nor  shall  she  |  fail  to  [  see,  | 
Even  in  the  |  motions  |  7  of  the  |  storm,  | 
Grace,  |  7  that  shall  |  mould  |  7the  |  maiden's  |  form,  | 

7  By  |  silent  |  sympathy.  |  7  7  | 

"  7  7  |  7  The  |  stars  of  |  midnight  |  7  shall  be  |  dear  | 
7  To  |  her ;  |  7  7  |  and  she  shall  |  lean  her  |  ear  | 

7  In  |  many  a  |  secret  |  place,  | 

7  Where  |  rivulets  |  dance  their  |  wayward  |  round,  |  7  7  | 
7  And  |  beauty,  |  7  7  |  born  of  |  murmuring  |  sound,  | 

7  Shall  |  pass  |  into  her  face.  |  7  7 1  7  7  | 

7  And  |  vital  |  feelings  of  de-  |  light  | 

7  Shall  |  rear  her  |  form  |  7  to  |  stately  |  height ;  | 

7  7  |  7  Her  |  virgin  |  bosom  |  swell ;  |  7  7  | 
Such  |  thoughts  |  7  to  |  Lucy  |  7  I  will  |  give,  | 


320  GRAMMAR  OF    ELOCUTION. 

7  While  |  she  and  |  I  |  7  to-  |  gether  |  live  | 
Here  |  7  in  this  |  happy  |  dell."  |  7  7  |  7  7  | 

Thus  |  nature  |  spake.  |  7  7  |  7  The  |  work  |  7  was  | 

done.  |  7  7  |  7  7  | 
7  How  |  soon  |  7  my  |  Lucy's  |  race  |  7  was  |  run  !  |  7  7  | 

7  She  |  died,  |  7  7  |  7  and  |  left  to  |  me  j 
7  This  |  heath,  |  7  this  |  calm  and  |  quiet  |  scene ;  | 
7  7  |  7  The  |  memory  of  |  what  |  has  |  been,  ( 

7  7  |  7  And  |  never  |  more  |  7  will  |  be.  |  7  7  |  7  7  | 


CONCLUSION  OF  THE  REV.  ROBERT  HALLOS  SERMON, 

Before  the  Volunteers  at  Bristol,  in  the  prospect  of  inva- 
sion by  France. 

7  To  |  form  an  |  adequate  i-  |  dea  |  7  of  the  |  dudes 
of  |  this  |  crisis,  |  7  7  |  you  must  |  raise  your  |  minds  |  7 
to  a  |  level  |  with  your  |  station,  |  7  7  |  7  and  ex-  |  tend 
your  |  views  |  7  to  a  |  distant  fu-  |  turity ;  |  7  7  |  7  to  | 
consequences  |  7  die  |  most  |  certain,  |  7  7  |  though  re- 
|  mote.  |  7  7  |  7  7  |  By  a  |  series  of  |  criminal  |  enter- 
prises, |  7  7  |  by  the  sue-  |  cesses  of  |  guilty  am-  |  bi- 
tion,  |  7  7  |  7  the  [  liberties  of  |  Europe  |  have  been  | 
gradually  |  7  ex-  |  tinguished  :  |  7  7  |  7  the  |  subju-  | 
gation  of  |  Holland,  |  Switzerland,  |  7  and  the  |  free  | 
towns  of  |  Germany,  |  7  has  com-  |  pleted  |  that  ca-  | 
tastrophe :  |  7  7  |  7  and  |  we  are  the  |  only  |  people  | 
7  in  the  |  eastern  |  hemisphere  |  who  are  in  pos-  |  ses- 
sion of  |  equal  |  laws,  |  7  and  a  |  free  |  consti-  |  tution.  | 


EXERCISES.  321 

7  7  j  7  7  |  But  the  |  inun-  |  elation  of  |  lawless  |  power, 
|  7  7  |  after  |  covering  the  |  rest  of  |  Europe,  |  7  7  | 
threatens  |  England ;  |  7  7  |  7  and  |  we  are  |  most  ex-  | 
actly,  |  most  |  critically  |  placed  |  7  in  the  |  only  |  aper- 
ture |  7  7  |  where  it  can  be  |  7  sue-  |  cessfully  re-  |  pel- 
led,  7  |  7  7  |  in  the  Ther-  |  mopylae  |  7  of  the  |  uni- 
verse. |  7  7  |  7  7  | 

7  As  |  far  as  the  |  interests  of  |  freedom  |  7  are  con-  | 
cerned,  |  7  7  |  7  the  |  most  im-  |  portant  by  |  far  7  |  7 
of  |  sublu-  |  nary  |  interests,  |  7  7  |  you,  |  7  my  |  coun- 
trymen, |  7  7  |  stand  in  the  ca-  |  pacily  |  7  of  the  |  fede- 
ral |  repre-  |  sentatives  |  7  of  the  |  human  |  race  ;  7  | 
7  7  |  for  with  |  you  |  7  it  |  is  to  de-  |  termine,  |  (under  | 
God,)  |  7  in  |  what  con-  |  dition  |  7  the  |  latest  pos-  | 
terity  |  shall  be  |  born;  |  7  7  |  7  their  |  fortunes  |  are 
en-  |  trusted  to  |  your  |  care,  |  and  on  |  your  |  conduct  | 
7  at  |  this  |  moment  |  7  de-  |  pends  the  |  color  |  7  and 
com-  |  plexion  of  their  |  destiny.  |  7  7  |  7  7  j  7  If  | 
liberty,  |  7  7  |  after  being  ex-  |  tinguished  |  on  the  | 
continent,  |  7  is  |  suffered  to  ex-  |  pire  |  here,  |  7  7  | 
whence  is  it  |  ever  to  e-  |  merge  |  7  in  the  |  midst  of 
that  |  thick  |  night  |  that  will  in-  |  vest  it.  |  7  7  |  7  7  | 

It  re-  |  mains  with  |  you  then  |  7  to  de-  |  cide  |  whe- 
ther that  |  freedom,  |  7  at  |  whose  |  voice  |  7  the  |  king- 
doms of  |  Europe  |  7  a-  |  woke  from  the  |  sleep  of  | 
ages,  |  7  to  |  run  a  ca-  |  reer  of  |  virtuous  |  emu-  |  la- 
tion  I  7  in  |  every  thing  |  great  and  |  good  ;  |  7  7  |  7 
the  |  freedom  |  which  dis-  |  pelled  the  |  mists  of  |  super- 
stition, |  7  and  in-  |  vited  the  |  nations  |  7  to  be-  |  hold 
their  |  God;  |  7  7  | 'whose  |  magic  |  touch  |  kindled  the 
|  rays  of  |  genius,  |  7  the  en-  |  thusiasm  of  |  poetry,  |  and 
the  |  flame  of  |  eloquence  ;  |  7  7  |  7  the  |  freedom  |  7 


322  GRAMMAR  OF  ELOCUTION. 

which  I  poured  into  our  |  lap  7  |  opulence  |  7  and  |  arts,  | 
7  7  |  7  and  em-  |  bellished  |  life  |  7  with  in-  |  numerable 
|  insti-  |  tutions  |  7  and  im-  |  provements,  |  7  7  |  till  it  be- 
|  came  a  |  theatre  of  |  wonders ;  |  7  7  |  it  is  for  |  you  to 
de-  |  cide  |  whether  this  |  freedom  |  7  shall  |  yet  sur-  | 
vive,  |  7  or  |  perish  for  |  ever.  |  7  7  |  7  7  |  But  you 
|  have  de-  |  cided.  |  7  7  |  7  7  |  7  With  |  such  a  | 
trust,  |  every  |  thought  of  |  what  is  af-  |  flicting  in  |  war- 
fare, |  7  7  |  every  |  appre-  |  hension  of  |  danger  |  must  | 
vanish,  |  7  7  |  7  and  |  you  are  im-  |  patient  to  |  mingle  | 
7  in  the  |  battle  of  the  |  civilized  |  world.  |  7  7  |  7  7  | 

Go  then,  |  ye  de-  |  fenders  of  your  |  country,  |  7  ac-  | 
companied  |  7  with  |  every  aus-  |  picious  |  omen ;  |  7  7  | 
7  ad-  |  vance  with  a-  |  lacrity  into  the  |  field,  |  7  where 
|  God  him-  |  self  |  musters  the  |  hosts  of  |  war.  |  7  7  |  7  7 
|  7  Re-  |  ligion  |  7  is  |  too  much  |  interested  |  in  your 
sue-  |  cess,  7  |  not  to  |  lend  you  |  her  |  aid ;  |  7  7  |  she 
will  |  shed  |  over  your  |  enterprise  |  her  se-  |  lectest  |  in- 
fluence. |  7  7  |  7  7  |  While  |  you  are  en-  |  gaged  in 
the  |  field  |  7  7  |  many  |  will  re-  |  pair  to  the  |  closet,  | 
7  7  |  many  to  the  |  sanctuary ;  |  7  7  |  7  the  |  faith- 
ful of  |  every  |  name  |  will  em-  |  ploy  |  that  |  prayer  | 
which  has  |  power  with  |  God ;  |  7  7  |  7  the  |  feeble  | 
hands  7  |  which  are  un-  |  equal  |  7  to  |  any  |  other  |  wea- 
pon, |  7  7  |  7  will  |  grasp  the  |  sword  of  the  |  Spirit:  |  7  7 
|  and  from  |  myriads  of  |  humble,  |  contrite  |  hearts,  |  7 
the  |  voice  of  |  inter-  |  cession,  |  suppli-  |  cation,  |  7  and  | 
weeping,  |  7  will  |  mingle  |  in  its  as-  |  cent  to  |  heaven  | 
\vith  the  |  shouts  of  |  battle  |  7  and  the  |  shock  of  |  arms.  | 
77 | 77 | 

7  My  |  Brethren,  |  7  I  |  cannot  but  i-  |  magine  |  7  the 
|  virtuous  |  heroes,  |  legislators  and  |  patriots,  |  7  of  eve- 


EXERCISES.  323 

ry  |  age  and  |  country,  |  7  are  |  bending  from  their  |  ele- 
vated |  seats  |  7  to  |  witness  this  |  contest,  |  7  in-  |  capa- 
ble, |  till  it  be  |  brought  to  a  |  favorable  |  issue,  |  7  of  en-  | 
joying  |  their  e-  |  ternal  |  7  re-  |  pose.  |  7  7  |  7  7  |  7  En-  | 
joy  that  re-  |  pose,  |  7  il-  |  lustrious  im-  |  mortals  |  7  7  | 
7  Your  |  mantle  |  fell  when  |  you  as-  |  cended ;  |  7   7  |  7 
and  |  thousands,  |  7  in-  |  flamed  with  your  |  spirit,  |  7  and 
im-  |  patient  to  |  tread  in  your  |  steps,  |  7  7  |  7  are  |  ready 
to   swear  by  |  Him  that  |  sitteth  on  the    throne,  |  7  and  | 
liveth  for  |  ever  and  |  ever,  |  7  that  |  they  will  pro-  |  tect 
|  freedom  |  7  in  her  |  last  a-  |  sylum,  |  7  and  |  never  de-  | 
sert  |  that  |  cause,  |  7  which  |  you  sus-  |  tained  by  your  | 
labors,  |  7  and  ce-  |  mented  with  your  |  blood.  |  7  7  |  7  7  | 
7  And  |  Thou,  |  7  7  |  sole  |  ruler  |  7  a-    mong  the  | 
children  of  |  men,  |  7  7  |  7  to  |  whom  |  7  the  |  shields  of 
the  |  earth  be-  |  long,  |  7  7  |  gird  |  on  thy  |  sword,  |  thou 
most  |  Mighty :  |  7  7  |  go  |  forth  with  our  |  hosts  |  7  in 
the  |  day  of  |  battle !  |  7  7  |  7  Im-  |  part,  |  in  ad-  |  dition 
to  |  their  he-  |  reditary  |  valor,  |  7  7  |  that  |  confidence  |  7 
of  sue-  |  cess  |  7  which  |    springs  from   |   thy  |  pre- 
sence !  |  7  7  |  7  7  |  Pour  into  their  |  hearts  |  7  the 
|  spirit  of  de-  |  parted  |  heroes !  |  7  7  |  7  In-  |  spire 
them  |  with  thine  |  own ;  |  7  7  |  and    while  |  led  by 
thine  j  hand  |  7  and  |  fighting     under  thy  |  banners,  | 
open  |  thou  their  |  eyes  |  7  to  be-  |  hold  in  |  every  |  valley, 
|7  and  in  |  every  |  plain,  |  what  the  |  prophet  |  7  be-  |  held 
by  the  |  same  il-  |  lumi-  |  nation  |  7  7  |  chariots  of  |  fire 
|  7  and  |  horses  of  j  fire  !  |  7  7  |  7  7  |  Then  shall  the  | 
strong  |  man  |  be  as  |  tow,  |  7  and  the  |  maker  of  it  | 
7  as  a  |  spark  ;|  7  7  |  and  they  shall  |  burn  to-  |  gether,  [ 
7  7  j  7  and  [  none  shall  |  quench  them.  |  7  7|  7  7  | 


324  GRAMMAR  OF  ELOCUTION. 


7  When  |  all  thy  |  mercies,  [  7  7  |  O  my  |  God,  | 
7  My  |  rising  |  soul  sur-  |  veys,  | 
7  Trans-  |  ported  1 7  with  the  |  view,  |  7  I'm  |  lost  | 
7  In  |  wonder,  |  love  and  |  praise  !  |  7  7  |  7  7  | 

O  |  how  shall  |  words  |  7  with  |  equal  |  warmth  | 
7  The  |  gratitude  |  7  de-  |  clare,  | 
7  That  |  glows  |  7  with-  |  in  my  |  ravished  |  heart  ! 
7  7  |  But  |  thou  |  7  canst  |  read  it  |  there.  |  7  7  |  7  7  | 

Thy  |  providence  |  7  my  |  life  sus-  |  tained,  | 
7  And  |  all  my  |  wants  re-  |  drest,  | 
7  7  |  When  in  the  |  silent  |  womb  |  7  I  |  lay,  | 
7  And  |  hung  |  7  upon  the  |  breast.  |  7  7  |  7  7  | 

7  To  |  all  my  |  weak  com-  |  plaints  |  7  and  |  cries  | 
7  Thy  |  mercy  |  lent  an  |  ear,  | 
7  Ere  |  yet  my  |  feeble  |  thoughts  |  7  had  |  learned  | 
7  To  |  form  themselves  |  7  in  |  prayer.  |  7  1  \  7  7  | 

Un-  |  numbered  |  comforts  |  7  to  my  |  soul  |  7  7  | 

7  Thy  |  tender  |  care  be-  |  stowed,  j 

7  Be-  |  fore  my  |  infant  |  heart  |  7  con-  |  ceived  | 

7  From  |  whom  those  |  comforts  |  flowed.  |  7  7  |  7  7  [ 

When  in  the  |  slippery  |  paths  of  |  youth  | 

7  With  |  heedless  |  steps  |  7 1  |  ran,  |  7  7  | 

Thine  |  arm  |  7   un-  |  seen  |  7  con-  |  veyed  me  ,'  safe, 

I   7  7| 
7  And  i  led  me  |  up  to  |  man.  |  7  7  |  7  7  | 

7  Through  ]  hidden  |  dangers,  |  7  7 1  toils  and  [  deaths,  \ 


EXERCISES.  325 

7  It  I  gently  |  cleared  ray  |  way,  | 

And  through  the  |  pleasing  |  snares  of  |  vice,  | 

More  to  be  |  feared  |  7  than  |  they.  |  7  7  j  7  7  | 

7  When  |  worn  with  |  sickness  |  7  7  |  oft  hast  |  thou  | 
With  |  health  |  7  re-  |  newed  my  |  face ;  |  7  7  | 
And  when  in  |  sins  and  |  sorrows  |  sunk,  | 
7  Re-  |  vived  my  |  soul  with  |  grace.  |  7  7  |  7  7  | 

7  Thy  |  bounteous  |  hand  |  7  with  |  worldly  |  bliss  | 
7  Has  |  made  my  |  cup  |  7  run    o'er ;  |  7  7  | 
And  in  a  |  kind  and  |  faithful  |  friend  | 
7  Has  |  doubled  |  all  my  |  store.  |  7  7  |  7  7  | 

Ten  |  thousand  |  thousand  |  precious  |  gifts  | 
7  My  |  daily  |  thanks  em-  |  ploy ;  | 
7  7  |  Nor  is  the  |  least  |  7  a  |  cheerful  |  heart,  | 
7  That  |  tastes  those  |  gifts  with  |  joy.  |  7  7  |  7  7  | 

7  Through  |  every  |  period  of  my  |  life  \ 

7  Thy  |  goodness  |  7  I'll  pur-  |  sue ;  | 

7  And  |  after  |  death  |  7  in  |  distant  |  worlds,  | 

7  The  |  glorious  |  theme  re-  |  new.  |  7  7  |  7  7  | 

7  When  |  Nature  |  fails,  |  7  and  |  day  and  |  night  | 
7  Di-  |  vide  thy  |  works  no  |  more,  | 
7  My  |  ever  |  grateful  |  heart  7  |  O  |  Lord  | 
7  Thy  |  mercy  |  7  shall  a-  |  dore.  |  7  7  |  7  7  | 

7  Through  |  all  e-  |  ternity  |  7  7  |  7  to  |  thee  | 
7  A  |  joyful  |  song  |  7  Til  |  raise.  |  7  7  | 
7  But  |  Oh !  |  7  E-  |  ternity's  |  too  |  short  | 
7  To  |  utter  |  all  thy  |  praise.  |  7  7  |  7  7  | 

28 


32G  GRAMMAR    OF    ELOCUTION. 

PABT    OF    THE    BURIAL.    SERVICE. 

From  the  Book  of  Common  Prayer. 

1  am  the  J  resur-  |  rection  |  7  and  the  |  life,  |  7  7  | 
saith  the  |  Lord ;  |  7  7  |  he  that  be-  |  lieveth  in  |  me,  | 
though  he  were  |  dead,  |  7  7  |  yet  shall  he  |  live :  |  7  7 
|  7  and  |  whoso-  |  ever  |  liveth,  |  7  and  be-  |  lieveth  in  | 
me,  |  7  shall  |  never  |  die.  |  7  7  |  7  7  | 

7  I  |  know  |  that  my  Re-  |  deemer  |  liveth,  [  7  7  | 
and  that  he  shall  |  stand  |  7  at  the  |  latter  |  day  |  7  upon 
the  |  earth,  |  7  7  |  7  and  |  though  |  worms  de-  j  stroy  | 
this  |  body,  |  7  7  |  yet  in  my  |  flesh  |  7  shall  I  |  see  | 
God.  |  7  7  |  7  7  |  " 

7  Be-  |  hold,  |  7  thou  hast  |  made  my  |  days,  7  |  as 
it  were  |  7  a  |  span  |  long :  |  7  7  |  7  and  mine  |  age  |  7 
is  |  even  as  |  nothing  |  7  in  res-  |  pect  of  |  thee ;  |  7  7  | 
7  and  |  verily  |  every  |  man  |  living  |  7  is  |  alto-  |  geth- 
er  |  vanity;  |  7  7  I  7  for  |  man  |  walketh  in  a  |  vain  | 
shadow,  |  7  and  dis-  |  quieteth  him-  |  self  in  |  vain :  | 
7  7  |  7  he  |  heapeth  |  up  |  riches  |  7  and  j  cannot  |  tell 
|  who  shall  |  gather  them.  |  7  7  |  7  7  | 

7  A  |  thousand  |  years  |  7  in  |  thy  |  sight  |  are  but  as 
|  yesterday  ;  |  7  7  |  seeing  |  that  is  |  past  |  7  as  a  |  watch 
in  the  |  night.  |  7  7  |  7  7  |  7  As  |  soon  as  thou  |  scatter- 
est  them  |  7  7  |  they  are  |  even  as  a-  |  sleep :  |  7  7  |  7 
and  |  fade  away  |  suddenly  |  7  like  the  |  grass.  |  7  7  | 
7  7  |  7  In  the  |  morning  |  7  it  is  |  green,  |  7  and  |  grow- 
eth  |  up:  |  7  7  |  but  in  the  |  evening  |  7  it  is  |  cut  | 
down,  |  dried  |  up,  |  7  and  |  withered.  |  7  7  |  7  7  | 

We  con-  1  sume  a-  |  way  |  7  in  thy  dis-  |  pleasure ;  | 
7  7  |  and  are  a-  |  fraid  |  7  at  thy  |  wrathful  |  indig-  | 


EXERCISES.  327 

nation :  |  7  for  |  when  thou  art  |  angry,  |  7  7  |  all  our  | 
days  are  |  gone,  7  |  and  we  |  bring  our  |  years  |  7  to  an 
end,  7  |  as  it  were  a  |  tale  |  7  that  is  |  told.  |  7  7  |  7  7  | 
So  |  teach  us  to  |  number  our  |  days:  |  7  7  |  that  we 
may  ap-  |  ply  our  |  hearts  |  7  unto  |  wisdom.  |  7  7  | 
77| 

Now  is  |  Christ  |  risen  from  the  |  dead,  |  7  and  be-  | 
come  the  |  first  |  fruits  |  7  of  |  them  that  |  slept:  |  7  7  | 
7  for  |  since  by  |  man  |  came  |  death,  |  7  by  |  man  | 
came  |  also,  |  7  the  |  resur-  |  rection  of  the  |  dead.  |  7  7 
|  7  7  |  As  in  |  Adam  |  all  |  die,  |  7  7  |  even  |  so  |  7  in  | 
Christ  |  7  shall  |  all  be  |  made  a-  |  live.  |  7  7  |  7  7  |  7 
But  |  some  |  man  |  7  will  |  say,  7  |  "  How  are  the  | 
dead  |  raised  |  up  ?  |  7  7  |  and  with  |  what  |  body  |  7 
do  they  |  come  ?"  |  7  7  |  7  7  |  Thou  |  fool,  |  7  7  |  that 
which  thou  |  sowest  |  7  is  |  not  |  quickened  |  7  ex-  | 
cept  it  |  die :  |  7  7  |  7  and  |  that  which  thou  |  sowest,  | 
7  thou  |  sowest  not  |  that  |  body  |  7  that  |  shall  be,  |  7 
but  |  bare  |  grain,  |  7  7  |  7  it  may  |  chance  of  |  wheat,  | 
or  of  |  some  |  other  |  grain :  |  7  7  |  7  but  |  God  |  giveth 
it  a  |  body,  |  as  it  hath  |  pleased  |  him ;  |  7  7  |  7  and  to 
|  every  |  seed  |  7  his  |  own  |  body.  |  7  7  |  7  7  |  So,  | 
also,  |  7  is  the  |  resur-  |  rection  |  7  of  the  |  dead :  |  7  7 
|  7  It  is  |  sown  |  7  in  cor-  |  ruption :  |  7  7  \  7  it  is  |  rais- 
ed |  7  in  |  incor-  |  ruption :  |  7  7  |  7  It  is  |  sown  |  7  in 
dis-  |  honor ;  |  7  7  |  7  it  is  |  raised  |  7  in  |  glory :  |  7  7  | 
7  It  is  |  sown  |  7  in  |  weakness ;  |  7  7  |  7  it  is  '  raised  | 
7  in  |  power :  |  7  7  |  7  It  is  |  sown  |  7  a  |  natural  |  body, 
|  7  7  |  7  it  is  |  raised  [  7  a  |  spiritual  |  body.  |  7  7  |  7  7 
|  Now  |  this  I  |  say,  |  brethren,  |  7  that  |  flesh  and  | 
blood  |  cannot  in-  |  heritthe  |  kingdom  of  |  God;  |  7  7  | 


328  GRAMMAR    OF    ELOCUTION. 

neither  doth  cor-  |  ruption  |  7  in-  |  herit  |  incor-  |  rup- 
tion.  |  7  7  |  7  7  | 

7  Be-  |  hold,  |  7  I  |  show  you  a  |  mystery.  |  7  7  | 
7  7  |  We  shall  |  not  |  all  |  sleep:  |  7  7  |  but  we  shall  | 
all  be  |  changed  |  7  in  a  |  moment.  |  7  in  the  |  twinkling 
of  an  |  eye,  |  7  at  the  |  last  I  trump  :  |  7  7  |  for  the 
trumpet  shall  |  sound,  |  7  and  the  |  dead  shall  be  |  raised 
|  incor-  |  ruptible,  |  7  and  |  we  shall  be  |  changed.  |  7  7 
|  7  7  |  7  For  |  this  cor-  |  ruptible  |  7  must  |  put  on  |  in- 
cor- |  ruption,  |  7  7  |  7  and  this  |  mortal  |  7  must  |  put 
on  |  immor-  |  tality.  |  7  7  |  7  7  |  So  |  when  this  cor-  | 
ruptible  |  shall  have  |  put  on  |  incor-  |  ruption  ;  |  7  and 
this  |  mortal  |  shall  have  |  put  on  |  immor-  |  tality,  |  7  7 
|  then  shall  be  |  brought  to*  |  pass  |  7  the  |  saying  that  is 
written  |  7  7  j  "  Death  |  7  is  |  swallowed  |  up  |  7  in  | 
victory."  I  7  7  |  7  7  |  O  |  Death!  |  7  7  |  where  is  thy  | 
sting?  |  7  7  |  7  7  |  O  |  Grave !  |  7  7  |  where  is  thy  | 
victory  ?  |  7  7  |  7  7  |  7  The  |  sting  of  |  death  |  7  is  | 
sin;  |  7  7  |  7  and  the  |  strength  of  |  sin  |  7  is  the  |  law.  | 
7  7  |  7  7  |  7  But  |  thanks  be  to  |  God,  |  7  who  |  giveth 
us  the  |  victory,  |  7  7  |  through  our  |  Lord  |  Jesus  | 
Christ.  |  7  7  |  7  7  | 

Man  that  is  |  born  of  a  |  woman,  |  7  7  |  hath  but  a  | 
short  |  time  to  |  live,  |  7  and  is  |  full  of  |  misery.  |  7  7  | 
7  7  |  7  He  |  cometh  |  up,  |  7  and  is  |  cut  |  down  |  7 
like  a  |  flower:  |  7  7  |  7  he  |  fleeth,  |  7  as  it  |  were, 
a  |  shadow,  |  7  and  |  never  con-  |  tinueth  |  7  in  |  one  | 
stay.  |  7  7  |  7  7  |  7  In  the  |  midst  of  |  life  7  |  we  are  in  j 
death :  |  7  7  |  7  Of  |  whom  may  we  |  seek  for  |  succor, 
|  but  of  |  thee,  |  O  |  Lord :  |  7  7  |  who  for  our  |  sins  |  7 
art  |  justly  dis-  |  pleased  ?  |  7  7  |  7  7  |  Yet  |  O  |  Lord  | 
God  |  most  |  holy;  |  7  7  |  7  7  |  O  |  Lord  |  most  | 


EXERCISES.  329 


mighty ;  |  7  7  |  O  |  holy  |  7  and  most  |  merciful  |  Sav- 
iour ;  I  7  7  |  7  de-  |  liver  us  |  not  7  |  into  the  |  bitter  | 
pains  |  7  of  e-  |  ternal  |  death.  |  7  7  |  7  7  | 


ANTONY'S  ORATION  OVER  CESAR'S  BODY. 
Shakspeare. 

Friends,  |  7  7  |  Romans,  |  7  7  |  Countrymen  !  |  7  7  | 

Lend  me  your  |  ears  ;  |  7  7  |  7  7  | 
7  I  |  come  |  7  to  |  bury  |  Caesar,  |  7  7  |  not  to  |  praise  | 

him.  |  7  7  |  7  7  | 

7  The  |  evil  |  7  that  |  men  |  do,  |  lives)  after  them ;  |  7  7  | 
7  The  |  good  |  7  is  |  oft  in-  |  terred  |  7  with  their  | 

bones:  |  7  7  | 
So  let  it  |  be  |  7   with  |  Cssar!  |  7   7  |  7  7  |  Noble  | 

Brutus  | 

7  Hath  |  told  you,  |  Caesar  |  7  was  am-  |  bitious.  |  7  7  | 
If  it  |  were  so,  |  it  was  a  |  grievous  |  fault;  |  7  7  |. 
7  And  |  grievously  |  7  hath  |  Caesar  |  answered  it.  |  7  7 
Here,    under  |  leave  of  |  Brutus,  |  7  and  the  |  rest,  | 
7  (For  |  Brutus  |  7  is  an  |  honorable  |  man,  |  7  7  | 
So  are  they  |  all,  7  |  all  |  honorable  |  men,)  |  7  7  | 
Come  I  |  7  to  |  speak  |  7  at  |  Caesar's  |  funeral.  |  7  7  |  7  7  | 

He  was  my  |  friend,  |  7  7  |  faithful  |  7  and  |  just  to  | 

me :  |  7  7  | 

7  But  |  Brutus  |  says  |  he  was  am-  |  bitious ;  |  7  7  | 
7    7  |  7   And  |  Brutus  |  7   is   an  |  honorable  |  man.  | 
77|77| 

28* 


330  GRAMMAR   OF    ELOCUTION* 

He  hath  |  brought  |  many  |  captives  |  home  to  |  Rome,  | 
7   Whose  |  ransoms  |   7   did  the  |  general  |  cofiers  | 

fill:  |  77177  | 

7  Did  |  this  |  7  in  |  Caesar  |  seem  am-  |  bitious  ?  |  7  7  |  7  7  | 
When  that  the  |  poor  have  |  cried,  |  7  7  |  Caesar  hath  | 

wept;  |  7  7|  77  | 
7  Am-  |  bition  |  7  should  be  |  made  of  |  sterner  |  stuff.  | 

7  7  |  77  | 

7  Yet  |  Brutus  |  says  |  7  he  |  was  am-  |  bitious ;  | 
7   7  |  7   And  |  Brutus  |  7  is  an  |  honorable  |  man.  | 

77|77| 

7  You  |  all  did  |  see,  |  7  that,  |  on  the  |  Lupercal,  | 
7  I  |  thrice  pre-  |  sented  him  |  7  a  |  kingly  |  crown ;  | 
7  7  |  Which  he  did  |  thrice  |  7  re-  |  fuse.  |  7  7  |  7  Was 

|  this  am-  |  bition?  |  77  |  7  7  | 
7  Yet  |  Brutus  |  says,  |  he  was  am-  |  bitious  ;  |  7  7  | 
7  And  |  sure,  |  7  he  |  is  |  7  an  |  honorable  |  man  ?  |  7  7  | 
7  7  |  7  I  |  speak  not  |  7  to  dis-  |  prove  |  what  |  Brutus 

I  spoke,  | 
7  But  |  here  |  I   am  to  |  speak  |  what  I  do  I  know.  | 

77|77| 
7  You  |  all  did  |  love  him  |  once ;  |  7  7  |  not  without  | 

cause.  |  7  7  | 
What  |  cause  with-  |  holds  you  |  then,  |  7   to  |  mourn 

for  him  ?  |  7  7  |  7  7  | 
O  |  judgment !   |  7   7  |  Thou   art  |  fled  to  |  brutish  | 

beasts,  I  7  7  | 
7  And  |  men  |  '7  have  |  lost  their  |  reason !  |  7  7  |  7  7  [ 

Bear  with  me :  | 
7  7  |  7  My  |  heart  7  |  is  in  the  J  coffin  |  there  |  7  with 

Caesar;  I 


EXERCISES. 

7  7  |  And  I  must  |  pause  7  |  till  it  |  come  j  back  to  me. 

|77|77| 
7  But  |  yesterday,  |  7  the  |  word  of  |  Caesar,  |  might  | 

7  Have  |  stood   a-  |  gainst  the  |  world  1  |  7  7  |  now  | 
lies  he  |  there,  | 

7  7  I  7  And  |  none  |  so  |  poor  17  to  |  do  him  |  reve- 
rence. |  7  7  |  7  7  | 

0  |  masters !  |  7  7  |  If  I  were  dis-  |  posed  to  |  stir  | 

7  Your  |  hearts  and  |  minds  |  7  to  |  mutiny  and  |  rage,  | 

1  should  do  |  Brutus  |  wrong,  |  7  and  |  Cassius  |  7  7  | 

wrong ;  | 
7  7  |  Who,  |  7  you  |  all  |  know,  |  7  are  |  honorable  | 

men.  |  7  7  |  7  7  | 
7  I  |  will  not  |  do  |  them  |  wrong  ;  |  7  7  [  7  7  |  I  |  rather 

|  choose  | 
7   To  |  wrong  the  |  dead,  |  7   to  |  wrong  my-  |  self  *| 

7  and  |  you,  | 
Than  I  wiD  |  wrong  |  such  7  |  honorable  |  men.  |  7  7  | 

77| 
7  But  |  here's  a  |  parchment  |  7   with  the  |  seal  of  | 

Caesar;  |  :    #** 

7  I  |  found  it  |  7  in    his  |  closet ;  |  7   7  |     'Tis  his  | 

will :  |  7  7  | 

Let  but  the  |  commons  |  hear  |  7  this  |  testament,  |  7  7  | 
7  (Which,  |  pardon  me,  |  7  I  |  do  not  |  mean  to  |  read,)  | 
7  7  |  And  they  would  |  go  |  7  and  |  kiss  |  dead  |  Caesar's  | 

wounds,  | 

7  And  j  dip  their  |  napkins  |  7  in  his  |  sacred  |  blood ;  | 
7  7  |  Yea  |  beg  £  |  hair  of  him  |  7  for  [  memory,  | 
7  And  |  dying,  |  7  7  |  mention  it  |  within  their  |  wills,  | 
7  7  |  7  Be-  |  queathing  it  I  7  as  a  |  rich  7  |  legacy,  | 
Unto  their  |  issue.  |  7  7  |  7  7  | 


332  GRAMMAR    OF    ELOCUTION. 

If  you  have  |  tears,  |  ?  pre-  |  pare  to  [  shed  them  | 

now.  |  7  7  |  7  7  | 
7  You  |  all   do  |  know  |  this  |  mantle  :  |  7  7  |  I   re-  | 

member  | 

7  The  |  first  |  time  |  ever  |  Caesar  |  put  it  |  on ;  |  7  7  | 
'Twas  on  a  |  summer's  |  evening  |  7  in  his  |  tent ;  |  7  7  | 
That  |  day  |  7  he  |  over-  |  came  the  |  Nervii:  |  7  7  |  7  7  | 
Look  !  |  7  in  |  this  |  place  ±  ran  |  Cassius'  |  dagger  | 

through !  |  7-  7  |  7  7  | 
See  what  a  |  rent  |  7  the  |  envious  |  Casca  |  made.  | 

77|77| 
Through  |  diis  |  7  die  |  well  be-  |  loved  |  Brutus  | 

stabbed,  |  7  7  | 

7  7  |  And  as  he  |  plucked  his  |  cursed  |  steel  a-  |  way,  | 
7  7  |  Mark  7  |  how  the  |  blood  of  |  Caesar  |  followed 

,         it!  |  7  7  |  77  | 

This  |  7  was  the  |  most  un-  |  kindest    cut  of    all ! 
7   7  |  7  For  |  when  the  |  noble  |  Caesar  |  saw  |  him  | 

stab,  | 

7  In-  |  gratitude  |  7  more  |  strong  than  |  traitor's  |  arms,  | 
Quite  |  vanquished  him :  |  7  7  |  then  |  burst  his  |  mighty 

heart ;  |  7  7  | 

And  in  his  |  mande,  |  7  7  |  muffling  up  his  |  face,  |  7  7  | 
Even  at  the  |  base  of  |  Pompey's  |  statue,  | 
7  7  |  7  (Which  |  all  the  |  while  |  ran  |  blood,)  |  7  7  | 

great  |  Czesar  |  fell.  |  7  7  |  7  7  | 
O  what  a  |  fall  |  7  was  |  there,  |  7  my  |  countrymen !  | 

77|77| 

Then  |  I,  |  7  and  |  you,  |  7  and  |  all  of  us,  |  feU  |  down,  | 
7  Whilst  |  bloody  |  treason  |  flourished  |  over  us.  |  7  7  |  7  7  | 
O !  |  now  you  |  weep ;  |  7  7  |  7  and  I  per- 1  ceive  |  7  you 

I  feel,  I 


EXERCISES.  33S 

7  The  |  dint  of  |  pity ;  |  7  7  |  these  |  7  are  |  gracious  | 

drops.  |  7  7  |  7  7  | 
Kind  |  souls;  |  7  7  |  what  |  weep  you,  |  7  7  |  when  you 

but  be-  |  hold  1 
7  Our  |  Caesar's  |  vesture  |  wounded  ?  |  7  7  |  7  7  |  Look 

you  |  here !  |  7  7  |  7  7  | 
Here  is  him-  |  self,  |  7  7  |  marr'd  |  7  as  you  |  see,  |  7  by 

|  traitors.  |  7  7  |  7  7  | 

Good  |  friends,  |  sweet  |  friends,  |  7  7  |  let  me  not  | 

stir  you  |  up  | 

7  To  |  such  a  |  sudden  |  flood  of  |  mutiny.  ]  7  7  | 
7  7  |  They  that  have  |  done  this  |  deed,  |  7  are  |  hono- 
rable :  | 
7  7  |  What  |  private  |  griefs  |  7  they  |  have,  1 7  a-  |  las !  | 

7  I  |  know  not,  | 
7  That  |  made  them  |  do  it ;  |  7  7  |  they  are  |  wise,  | 

7  and  |  honorable,  | 
7  And  |  will  |  7  no  |  doubt,  |  7  with  |  reason  |  answer 

you.  |  7  7  |  7  7  | 
7  I  |  come  not,  |  friends,  |  7  to  |  steal  away  |  7  your  | 

hearts ;  \  1  7  | 

I  am  |  no  |  orator,  '  7  as  |  Brutus  |  is ;  | 
7  7  |  But  as  you  |  know  me  |  all,  |  7  a  |  plain  |  blunt  | 

man, 
7  That  |  love  my  |  friends ;  |  7  7  |  7  and  |  that  |  they  | 

know  |  full  |  well  | 
7  That  |  gave  me  |  public  |  leave  |  7  to  |  speak  of  him. 

|  7  7  |  77  | 
For  I  have  |  neither  |  wit,  |  7   nor  |  words,  j  7   nor  | 

worth.  |  7  7  | 
Action,  |  7  nor  |  utterance,  |  7  nor  |  power  of  |  speech,  | 


334  GRAMMAR    OF   ELOCUTION. 

7   To  I  stir  |  men's  I  blood.  |  7  7  |  7  I  only  |  speak  | 

right  |  on :  |  7  7  | 
7  I  |  tell  you  |  that  |  7  which  |  you  your-  |  selves  |  7  do  | 

know ;  | 
7  7  |  Show  you  |  sweet  |  Caesar's  |  wounds,  |  7  7  |  poor, 

|  poor,    dumb  |  mouths,  | 
7  And  |  bid  |  them  |  speak  |  for  me.  |  7  7  |  7  7  |  But 

were  |  I  |  Brutus,  | 

7  And  |  Brutus  |  Antony,  |  7  7  |  there  were  an  |  Antony  | 
7  Would  |  ruffle  |  up  your  |  spirits,  |  7  7  |  7  and  |  put  a  | 

tongue  | 

7  In  |  every  |  wound  of  |  Caesar,  |  7  that  should  |  move  | 
7  The  |  stones  of  j  Rome  |  7  to  |  rise  in  |  mutiny.  | 

77|77| 


SPEECH    OF    PATRICK    HENRT. 

Mr.  |  President,  |  7  7  |  7  it  is  |  natural  to  |  man  |  7  to 
in-  |  dulge  in  the  il-  |  lusions  of  |  hope.  |  7  7  |  7  7  j  We 
are  |  apt  to  |  shut  our  |  eyes  |  7  a-  |  gainst  a  |  painful  | 
truth,  |  7  7  |  7  and  |  listen  to  the  |  song  of  that  |  Syren, 
|  7  7  |  till  she  trans-  |  forms  us  |  7  into  |  beasts.  |  7  7  | 
7  7  |  7  Is  |  this  the  |  part  of  |  wise  |  men,  |  7  en-  |  ga- 
ged in  a  |  great  and  |  arduous  |  struggle  |  7  for  |  liberty  ? 
|  7  7  |  7  7  |  Are  we  dis-  |  posed  |  7  to  |  be  of  the  | 
number  of  |  those  |  7  who  |  having  |  eyes,  |  see  not,  |  7 
and  |  having  |  ears,  |  hear  not  the  |  things  |  7  which  so  | 
nearly  con-  |  cern  our  |  temporal  sal-  |  vation?  |  7  7  | 
7  7  |  7  For  |  my  |  part,  |  7  what-  |  ever  |  anguish  of  ( 


EXERCISES.  335 

spirit  |  7  it  may  |  cost,  |  7  7  |  I  am  |  willing  to  |  know 
the  |  whole  |  truth ;  |  7  7  |  7  to  |  know  the  |  worst,  |  7  7 
|  and  to  pro-  |  vide  for  it.  |  7  7  |  7  7  | 

7  I  |  have  but  |  one  |  lamp,  |  7  by  which  |  my  |  feet 
are  |  gUided ;  |  7  7  |  7  and  |  that  |  7  is  the  |  lamp  of  ex- 
j  perience.  |  7  7  |  7  7  |  7  I  |  know  of  |  no  |  way  of  | 
judging  of  the  |  future  |  7  7  |  but  by  the  |  past.  |  7  7  | 
7  7  |  7  And  |  judging  by  the  |  past,  |  7  1 1  wish  to  |  know 
|  what  there  has  |  been  |  7  in  the  |  conduct  of  the  |  Brit- 
ish |  ministry  |  7  for  the  |  last  |  ten  |  years,  |  7  to  |  justify  | 
7  those  |  hopes  |  7  with  which  |  gentlemen  |  7  have  been  | 
pleased  to  |  solace  them-  |  selves  |  7  and  the  |  house?  | 
7  7  |  7  7  |  Is  it  |  that  in-  |  sidious  |  smile  |  7  with  |  which 
our  pe-  j  tition  |  7  has  been  |  lately  re-  |  ceived  ?  |  7  7  | 
7  7  I  Trust  it  not  |  7  Sir ;  |  it  will  |  prove  a  |  snare  |  7  to 
your  |  feet.  |  7  7  |  7  7  |  Suffer  not  your-  |  selves  |  7  to  be 
be-  |  trayed  |  7  with  a  |  kiss.  |  7  7  |  7  7  |  Ask  yourselves  | 
how  this  |  gracious  re-  |  ception  |  7  of  our  pe-  |  tition  |  7 
com-  |  ports  with  those  |  war-like  |  prepa-  |  rations  |  7 
which  |  cover    our  |  waters  |  7  and  |  darken  our  |  land.  | 
7  7  |  7  7  |  7  Are  |  fleets  and  |  armies  |  necessary  |  7  to  a  | 
work  of  |  love  and  |  reconcili-  |  ation  ?  |  7  7  |  7  7  |  Have 
we  |  shown  ourselves  |  so  un-  |  willing  to  be  |  reconciled,  | 
7  that  |  force  |  7  must  be  |  called  |  in  |  7  to  |  win  |  back 
our  |  love  ?  |  7  7  |  7  7  |  Let  us  not  |  7  de-  |  ceive  our- 
selves, |  Sir.  |  7  7  |  7  7  |  These  |  are  the  |  implements  of 
|  war  |  7  and  |  subju-  |  gation ;  |  7  7  |  7  the  j  last  |  argu- 
ments |  7  to  which   |  kings  re-   |  sort.  |  7  7  j  71  |  ask  | 
gentlemen,  |  7  Sir,  |  what  |  means  this    martial  ar-    ray,  | 
7  if  its  |  purpose  |  be  not  to  |  force  us  to  sub-  |  mission  ?  | 
7  7  |  7  7  |  7  Can  |  gentlemen  as-  |  sign  |  any  |  otlier  ] 
possible  |  motive  for  it?  |  7  7  |  7  7  |  7  Has  |  Great  |  Bri- 


336  GRAMMAR    OF    ELOCUTION. 

tain  |  any  |  enemy  |  7  in  |  this  |  quarter  of  the  |  world,  |  7 
to  |  call  for  |  all  this  ac-  |  cumu-  |  lation  |  7  of  |  navies  and  | 
armies?  |  7  7  |  7  7  |  No  Sir,  |  she  has  |  none.  |  7  7  |  7  7  | 
They  are  |  meant  for  |  us :  |  7  7  |  7  they  |  can  be  |  meant 
for  |  no  |  other.  |  7  7  |  7  7  |  They  are  |  sent  |  over  |  7  to  | 
bind  and  |  rivet  upon  us  |  those  [  chains,  |  which  the  | 
British  |  ministry  |  7  have  been  |  so  |  long  |  forging.  |  7  7  | 
7  7  |  And  |  what  |  have  we  |  7  to  op-  |  pose  to  them  ?  | 
7  7  |  7  7  |  Shall  we  |  try  |  argument?  |  7  7  |  7  7  |  Sir,  |  7 
we  |  have  been  |   trying  |  that  |  7.  for  the  |  last  |  ten  | 
years.  |  7  7  |  7  7  |  Have  we  |  any  thing  |  new  |  7  to  | 
offer  |  7  upon  the  |  subject?  |  7  7  |  7  7  |  Nothing.  |  7  7  | 
7  7  |  We  have  |  held  the  |  subject  |  up  |  7  in  |  every  | 
light  of  |  which  it  is  |  capable ;  |  7  7  |  but  it  has  been  |  all 
in  |  vain.  |  7  7  |  7  7  |  Shall  we  re-  |  sort  to  en-  I  treaty  | 
7  and  |  humble  |  suppli-  |  cation?  |  7  7  |  7   7  |  What  | 
terms  |  7  shall  we  |  find  |  which  |  have  not  |  been  al-  | 
ready  ex-  |  hausted  ?  |  7  7  |  7  7  |  Let  us  not  |  7  1  be-  | 
seech  you,  Sir,  |  7  de-  |  ceive  ourselves  |  longer,  j  7  7  | 
7   7  |  Sir,  |  7   we  have  j  done  |  every  thing  (  7  that  | 
could  be  |  done,  |  7  to  a-  |  vert  the  |  storm  |  7  which  is  | 
now  |  coming  |  on.  |  7  7  |  7  7  |  We  have  pe-  |  titioned,  | 
7  7  |  we  have  re-  |  monstrated,  |  7  7  |  we  have  |  suppli- 
cated, |  7  7  |  we  have  |  prostrated  ourselves  |  7  be-  |  fore 
the  |  throne,  |  7  7  |  and  have  im-  |  plored  |  its  |  interpo-  | 
sition  |  7  to  ar-|  rest  the  ty- 1  rannical  |  hands  |  7  of  the  | 
ministry  |  7  and  |  parliament.  |  7  7  |  7  7  |  7  Our  pe-  |  ti- 
tions  |  7  have  been  |  slighted  ;  |  7  7  |  7  our  re-  |  mon- 
strances |  7  have  pro-  |  duced  ad-  |  ditional  |  violence,  |  7 
and  |  insult ;  |  7  7  |  7  our  |  suppli-  |  cations  |  7  have  been 
|  disre-  |  garded ;  |  7  7  |  7  and    we  have  been  |  spurned,  | 
7  with  con-  |  tempt,  |   7  from  the  |  foot  of  the  |  throne.  | 


EXERCISES.  337 

7  7  I  7  7  I  7  In  I  vain,  7  after  |  these  |  things,  7  |  may 
we  in-  |  dulge  the  |  fond  |  hope  of  |  peace  |  7  and  |  recon- 
cili-  |  ation.  |  7  7  |  7  7  |  There  is  \  no  \  longer  \  any  \ 
room  for  \  hope.  |  7  7  |  7  7  |  If  we  |  wish  to  be  |  free,  | 
7  7  |  if  we  |  mean  to  pre-  |  serve  in-  |  violate  |  those  in- 
|  estimable  |  privileges  |  7  for  |  which  we  have  been  | 
so  |  long  con-  |  tending,  |  7  7  |  if  we  |  mean  not  |  basely 
to  a-  |  bandon  |  7  the  |  noble  |  struggle  |  7  in  |  which 
we  have  been  |  so  |  long  en-  |  gaged,  |  7  and  |  which  we 
have  |  pledged  ourselves  |  never  to  a-  |  bandon,  |  7  7  | 
until  the  |  glorious  |  object  |  7  of  our  |  contest  |  shall  be 
ob-  |  tained,  |  7  7  |  We  must  |  fight ;  |  7  7  |  7  7  |  I  re- 
|  peat  it,  Sir,  |  7  we  |  must  7  |  fight !  |  7  7  |  7  7  |  7  An 
ap-  |  peal  to  |  arms,  |  and  to  the  |  God  of  |  Hosts,  |  7  is 
|  all  |  7  that  is  |  left  us !  |  7  7  |  7  7  | 

7  They  |  tell  us,  |  Sir,  7  |  that  we  are  |  weak,  |  7  un- 
|  able  to  |  cope  with  so  |  formidable  an  |  adversary.  |  7  7 
|  7  7  |  7  But  |  when  shall  we  be  |  stronger  ?  |  7  7  |  7  7  | 
Will  it  be  the  |  next  |  week,  |  7  or  the  |  next  |  year  ?  | 
7  7  |  7  7  |  Will  it  |  be  |  when  we  are  |  totally  dis-  [ 
armed,  |  7  and  |  when  a  |  British  |  guard  |  7  shall  be  | 
stationed  in  |  every  |  house  ?  |  7  7  |  7  7  |  7  Shall  we  | 
gather  |  strength  |  7  by  |  irreso-  |  lution,  |  7  and  in-  |  ac- 
tion ?  |  7  7  |  7  7  |  7  Shall  we  ac-  |  quire  the  |  means  of 
ef-  |  fectual  re-  |  sistance,  |  7  by  |  lying  su-  |  pinely  |  7 
on  our  |  backs,  |  7  and  |  hugging  the  de-  |  lusive  |  phan- 
tom of  j  hope,  |  7  un-  |  til  our  |  enemies  |  7  shall  have  | 
bound  us  |  hand  and  |  foot?  |  7  7  |  7  7  |  Sir,  7  j  7  we 
are  |  not  |  weak,  |  7  if  we  |  make  a  |  proper  |  use  of  | 
those  |  means  |  7  which  the  |  God  of  |  nature  |  7  hath  | 
placed  in  our  |  power.  |  7  7  |  7  7  |  Three  |  millions  of  j 
people,  |  7  7  |  armed  in  the  |  holy  |  cause  of  |  liberty,  | 

29 


338  GRAMMAR    OF    ELOCUTION. 

7  and  in  |  such  a  |  country  |  7  as  |  that  which  |  we  pos- 
|  sess,  |  7  are  in-  |  vincible  |  7  by  |  any  |  force  |  7  which 
our  |  enemy  |  7  can  |  send  a-  |  gainst  us.  |  7  7  |  7  7  | 
7  Be-  |  sides,  Sir,  |  7  we  shall  |  not  |  fight  our  |  battles 
a-  |  lone.  |  7  7  |  7  7  |  There  is  a  |  just  |  God  |  7  who 
pre-  |  sides  |  over  the  |  destinies  of  |  nations ;  |  7  7  |  7 
and  |  who  will  |  raise  |  up  |  friends  |  7   to  |  fight  our 
battles  |  for  us.  |  7  7  |  7  7  |  7  The  |  battle,  |  Sir,  |  7  is 
not  to  the  |  strong  a-  |  lone,  |  7  7  |  it  |  is  to  the  |  vigilant 
|  7  the  |  active,  |  7  the  |  brave.  |  7  7  |  7  7  |  7  Be- 
sides, Sir,  |  7  we   have  |  no  e-  |  lection.    |  7  7  |  7  7 
If  we  were  |  base  enough  |  7  to  de-  |  sire  it,  |  7  it  is 
now  |  too  |  late  |  7  to  re-  |  tire  from  the  |  contest.  |  7  7 
7  7  |  There  is  |  no  re-  |  treat,  |  7  7  |  but  in  sub-  |  mis 
sion  |  7  and  |  slavery.  |  7  7  |  7  7  |  7  Our  |  chains  are 
forged.  I  7  7  |  7  7  |  7  Their  |  clanking  |  7   may  be 
heard  |  on  the  |  plains  of  |  Boston.  |  7  7  |  7  7  |  7  the 
war  |  7   is  in-  |  evitable,  |  7  7  |  and  |  let  it  |  come ! 
7  7  |  7  7  |  7  I  re-  |  peat  it  Sir,  |  7  7  |  let  it  j  come ! 
7  7  j  7   7  |  It  is  in  |  vain  Sir  |  7  to  ex-  |  tenuate  the 
matter.  |  7  7  |  Gentlemen  may  |  cry  |  peace,  |  peace ! 
7  7  |  but  there  |  w  no  |  peace.  |  7  7  |  7  7  |  7  The  |  war 
is  |  actually  be-  |  gun !  |  7  7  |  7  7  |  7  The  |  next  |  gale 
that  |  sweeps  from  the  |  north  |  7  will  |  bring  to  our 
ears  |  7  the  |  clash  of  re-  |  sounding  |  arms !  |  7  7  |  7  7 
7  Our  |  brethren  |  7  are  al-  |  ready  |  7  in  the  |  field ! 
7  7  |  7  7  |  Why  |  stand  |  we  |  here  |  idle  ?  |  7  7  |  7  7 
What  |  is  it  |  7  that  |  gentlemen  |  wish  ?  |  7  7  |  7    7 
What  7  |  would  they  |  have?  |  7  7  |  7  7  |  7  Is  |  life  7 
so  |  dear,  |  7  or  |  peace  |  so  |  sweet,  |  as  to  be  |  pur- 
chased |  7  at  the  |  price  of  |  chains  and  |  slavery  ?  |  7  7 
7  7  |  7  For-  |  bid  it,  |  7  Al-  |  mighty  |  God !  |  7  7  |  7 


EXERCISES.  339 

I  I  know  not  |  what  |  course  |  others  may  |  take ;  |  7  7  | 
7  but  |  as  for  |  me,  |  7  7  |  give  me  |  liberty ;  |  7  7  |  7  or 
|  give  me  |  death !  |  7  7  |  7  7  | 


THE  BATTLE  OF  WARSAW. 

Campbell. 
7  When  |  leagued  op-  |  pression  |  poured  to  |  northern  j 

wars,  | 
7  Her  |  whisker' d  |  pandoors,  |  7  and  her  |  fierce  |  7  bus- 

|  sars,  |  7  7  | 
Waved  her  |  dread  |  standard  |  7  to  the  |  breeze  of  | 

morn,  | 
7  7  1  Peal'd  her  |  loud  |  drum,  |  7  and  |  twang'd  her  | 

trumpet  |  horn;  | 
7  7  |  7   Tu-  |  multuous  |  horror  |  7    7  |  brooded  |  o'er 

her  |  van,  | 
7  Pre-  |  saging  |  wrath,  |  7  to  |  Poland,  |  7  7  |  7  and  to 

j  man !  |  7  7  |  7  7  | 
Warsaw's  |  last  |  champion  |  7  from  her  |  heights  |  7  sur- 

I  vey'd,  |  7  7  | 
Wide  o'er  the  |  fields,  |  7  a  |  waste  of  |  ruin  |  laid  ;  | 

77|77| 

O !  |  Heaven !  |  7  he  |  cried,  |  7   my  |  bleeding  |  coun- 
try |  save !  | 
7  7  |  Is  there  no  |  hand  on  |  high,  |  7  to  |  shield  the  | 

brave  ?  |  7  7  | 
What  though  de-  |  struction  |  7  7  |  sweep  these  |  lovely 

|  plains,  | 
Rise,  |  fellow  |  men !  |  7  our  |  country  |  7  7  |  yet  re-  | 

mains!  I 


340  GRAMMAR    OF    ELOCUTION. 

7  By  |  that  |  dread  |  name,  |  7  we  |  wave  the  |  sword 

on  |  high,  | 
7  And  |  swear  |  7  for  |  her  to  |  live !  |  7  7  |  7with  |  her 

|  7  to  |  die!  |  77  |  77  | 
7  He  |  said,  |  7  7  |  7  and  |  on  the  |  rampart  |  heights  | 

7  ar-  |  ray'd  | 
7  His  |  trusty  |  wariors,  |  7  7  |  few,  |  7  but  |  undis-  | 

may'd  ; 
7  7  |  Firm  |  paced,  |  7  and  |  slow,  |  7  a  |  horrid  |  front 

they  |  form,  |  7  7  | 
Still  |  7  as  the  |  breeze,  |  7  but  |  dreadful  |  7  as  the  | 

storm ;  |  7  7  | 

Low  |  murmuring  |  sounds  a-  |  long  their  |  banners  |  fly,  | 
7  Re-  |  venge  |  7  or  |  death,  |  7  the  |  watchword  |  and 

re-|ply;|77|77| 

Then  |  peal'd  the  |  notes,  |  7  om-  |  nipotent  to  |  charm,  | 
7  And  the  |  loud  |  tocsin  |  7  7  |  toll'd  |  7  their  |  last  a-  [ 

larm.  |  7  7  |  7  7  | 

7  In  |  vain,  |  7  a-  |  las !  |  7  in  |  vain,  |  7  7  |  7  ye  |  gal- 
lant |  few !  | 
7  From  |  rank  to  |  rank  |  7  your  |  volley 'd  |  thunder  | 

flew ;  |  7  7  | 

Oh  !  |  bloodiest  |  picture  |  7  in  the  |  book  of  |  Time,  | 
7  Sar-  |  matia  |  fell,  |  un-  |  wept,  |  7  with-  |  out  a  | 

crime  :  | 

Found  not  a  |  generous  |  friend,  |  7  a  |  pitying  |  foe,  | 
7  7  |  Strength  in  her  |  arms,  |  7  nor  |  mercy  |  7  in  her  | 

wo !  |  7  7  | 
Dropp'd  from  her  |  nerveless  |  grasp,  |  7  the  |  shatter'd  | 

spear,  I 
7  7  |  Closed  her  |  bright  |  eye,  |  7  and  |  curb'd  |  7  her  | 

high  ca-  |  reer ;  |  7  7  | 


EXERCISES.  341 

Hope,  |  7  for  a  |  season,  |  7  7  |  bade  the  |  world  |  fare- 

|  well,  | 
77(7  And  |  Freedom  |  shriek'd,  |  ,7  as  |  Kosci-  |  usko 

|  fell.  |  7  7  |  7  7  | 

7  The  |  sun  |  went  |  down,  |  7  nor  |  ceased  the  j  car- 
nage |  there,  | 
7  Tu-  |  multuous  |  murder  |  7  7  |  shook  the  I  midnight  | 

air,  |  7  7  | 
7  On  |  Prague's  |  proud  |  arch  |  7  the  |  fires  of  |  ruin  | 

glow,  | 
7  His  |  blood-dyed  |  waters  |  7  7  |  murmuring  |  far  be- 

|low;|77| 
7  The  |  storm  pre-  |  vails,  |  7   7  |  7   the  |  rampart  | 

yields  a  |  way,  | 
Bursts  the  (  wild  |  cry  |  7  of  |  horror  |  7  and  dis-  |  may  J 

|77| 
Hark !  |  7  7  |  7  as  the  |  smouldering  |  piles  |  7  with  \ 

thunder  |  fall !  | 
7  A  |  thousand  |  shrieks  |  7  for  |  hopeless *|  mercy  |  call ! 

|77| 
Earth  |  shook,  |  7  7  |  red  |  meteors  |  flashed  a-  |  long  the 

I  sky,  | 
7  And  |  conscious  I  Nature  |  shudder'd  |  7  at  the  |  cry !  | 

771771 


SPEECH    OF    CASSIUS,    INSTIGATING    BRUTUS    TO    JOIN 
THE    CONSPIRACY    AGAINST    CAESAR. 

Shakspeare. 
Well !  |  Honor  |  7  is  the  |  subject  |  7  of  my  |  story. 

7  7  |  7  7  | 
7  I  |  cannot  |  tell  |  7  what  |  you  |  7  and  |  other  (  men 


342  GRAMMAR  OF    ELOCUTION. 

Think  of  this  |  life;  |  7  7  |  But  for  my  |  single  |  self;  | 
I  |  7  had  as  |  lief  |  not  |  be,  |  7  as  |  live  to  |  be  | 
7  In  |  awe  of  |  such  a  |  thing  |  7  as  |  I  my-  |  self.  |  7  7  | 
I  was  |  born  |  free  as  |  Caesar ;  |  7  7  |  so   were  |  you  : 

|77| 
7  We  |  both   have  |  fed  as  |  weU ;  |  7  7  |  7   and  |  we 

can  |  both  | 
7  En-  |  dure  the  |  winter's  |  cold,  |  7   as  |  well    as  | 

he,  |  7  7  | 

7  For  |  once  |  7  upon  a  |  raw  and  |  gusty  |  day,  | 
7   The  |  troubled  |  Tiber   |  chafing  |   7    with    his   | 

shores,  | 
Caesar  |  says  to  me,  |  7   7  |  "  Dar'st  thou,  |  Cassius,  | 

now  | 

Leap  |  in  with  |  me  |  into  this  |  angry  |  flood,  | 
7  And  |  swim  to  |  yonder  |  point  ?"  |  7  7  |  7  Upon  the  | 

word,  | 

7  Ac-  |  coutered  as  I  |  was,  |  7  I  |  plunged  |  in,  | 
7  And  |  bade  |  him  |  follow :  |  7  7  |  so  in-  |  deed  he  | 

did.    | 

7  The   |   torrent  |  roared,  |  7   7  |  and  we    did  |  buf- 
fet it  | 

7  With  |  lusty  |  sinews ;  |  7  7  |  throwing  it  a-  |  side,  | 
7   And   stemming  it  |  7  with  |  hearts  of  |  controversy. 

I  77  | 
7  But  |  ere  |  7  we  could   ar-  |  rive  the  |  point  pro-  | 

posed  | 
Caesar  |  cryed  |  7  7  |  "  Help  me,  |  7  7  |  Cassius,  |  7  or 

I  |  sink."  |  7  7  |  7  7  | 

I,  7  |  7  as  JE-  |  neas,  |  7  our  |  great  |  ancestor,  | 
7  7  |  Did  from  the  |  flames  of  |  Troy,  |  7  upon  his  | 
shoulders  | 


EXERCISES.  343 

7  The  |  old  An-  |  chises  |  bear ;  |  7  7  |  so  from  the  [ 

waves  of  |  Tiber,  | 
7  Did  |  I  7  |  7  the  |  tired  |  Caesar;  |*7  7  |  7  and  this  | 

man  | 
7  Is  |  now  be-  |  come  a  |  God ;  |  7  7  |  7  and  |  Cassius 

|  7  is  | 
7   A  I  wretched  |  creature,  |  7  and  must  |  bend  his  | 

body,  | 
If  |  Caesar  |  7    7  |  carelessly  |  7   but  |  nod   on  him.  | 

7  7  |  77  | 

He  had  a  |  fever  |  when  he  was  in  |  Spain,  | 
7  And  |  when  the  |  fit  was  |  on  him  |  7  I  did  |  mark  | 
How  he  did  j  shake ;  |  7  7  |  7  'tis  |  true;  |  this  |  God  |  7 

did  |  shake;  |  77  | 

7  His  |  coward  |  lips  |  did  from  their  |  colour  |  fly ;  | 
7  And  |  that  same  |  eye,  |  7  whose  |  bend  |  7  doth  | 

awe  the  |  world,  | 
7  Did  |  lose  its  |  lustre ;  |  7  7  |  7  I  did  |  hear  him  | 

groan :  |  7  7  | 
Aye,  |  7  and  that  |  tongue  of  his  |  7  that  |  bade  the  | 

Romans  | 
Mark  him,  |  7  and  |  write  his  |  speeches  |  7  in  their  | 

books,  | 
7  7  |  A-  |  las !  |  7   it  |  cried ;  |  7  7  |  Give  me  some  | 

drink,  |  7  Ti-  |  tinius!"  | 
7  As  a  |  sick  |  girl.  |  7  7  |  7  Ye  |  Gods,  |  7  it  doth  a-  | 

maze  me,  | 

7  A  |  man  of  |  such  a  |  feeble  |  temper,  |  7  should  | 
So  |  get  the  |  start  |  7  of  the  ma-  |  jestic  |  world,  | 
7  And  |  bear  the  |  palm  a-  |  lone.  |  7  7  |  7  7  | 
Brutus  |  7  and  |  Caesar.  |  7  7  |  What  |  should   be  in  | 
that  |  Caesar?  I  77  I  77  I 


344  GRAMMAR   OF    ELOCUTION. 

Why  should  |  that   7  |  name  |  7   be  |  sounded  |  more 

than  |  yours  ?  |  7  7  |  7  7  | 
Write  them  to-  |  gether ;  |  7  7  |  yours  |  7  is  as  |  fair  a  | 

name;  |  7  7  | 
Sound  them ;  |  7  7  |  it  doth  be-  |  come  the  |  mouth  as  | 

well,  | 

7  7  |  Weigh  them;  |  7  7  |  it  is  as  |  heavy:  |  7  7  |  con- 
jure with  'em  |  7  7  | 
Brutus  |  7  will  |  start  a  |  spirit  |  7  as  |  soon  as  |  Caesar. 

I  7  7| 

Now  in  the  |  name  of  |  all  the  |  Gods  at  |  once,  |  7  7  | 
Upon  what  |  meats  |  7  dotli  |  this  our  |  Caesar  |  feed,  | 
That  he  has  I  grown  so  |  great?  |  7  7  |  Age,  |  thou  art  | 

shamed  !  |  7  7  | 
Rome,  |  7  thou  hast  |  lost  thy  |  breed  of  |  noble  |  bloods. 

|77|77| 
When  |  went  there  |  by  an  |  age,  |  since  the  great  | 

flood,  | 
But  it  was  |  famed  |  7  with  |  more  |  than  with  |  one  | 

man?  |  7  7  | 
When  could  they  |  say,  |  7  till  |  now,  |  7  that  |  talked 

of  |  Rome,  | 
7  That  her  |  wide  |  walls  |  7  en-  |  compassed  |  7  but  | 

one  |  man?  |  77  |  77  | 
Oh !  |  7  7  |  you  and  |  I  |  7  have  |  heard  our  |  fathers  | 

say,  | 
There  was  a  |  Brutus  |  once,  |  7  7  |  that  would  have  | 

brook'd  | 
7  The  in-  |  fernal  |  devil,  |  7  to  |  keep  |  his  |  state  in  | 

Rome  | 
7  As  |  easily  |  7  as  a  |  king.  |  7  7  |  7  7  | 


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OF  CALIFORNIA—  BERKELEY 


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This  book  is  due  on  the  last  date  stamped  below,  or  on  th 

date  to  which  renewed. 
Renewed  books  are  subject  to  immediate  recall. 


U 

Nl 


OK 

14  DAYS  A^£R  RECEIPT. 

AUi 

,c 

1963 


REC'D  L.D 

AUG     i 


21-100m-l, '54  (1887816)  476 


I  LJ      V  «    / 


U.C.  BERKELEY 

C005311370 


